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• Sculpture » Architecture * Painting 

Official H^NDBOOKo/ARCHITECTVRE 

and SCULPTURE and 
ART CATALOGUE TO THE 

Pan-American Exposition 



With Maps and Illustrations by -permission 
of C. D. Arnold, Official Photographer 

BUFFALO, NEW YORK, U. S. A., MAT FIRST 
TO NOVEMBER FIRST, M. CM. & I. 

Published by DAVID GRAY, Buffalo, N. Y. 

Entered according to Act of Congress in the year 1901, by David Gray, in the Office of the Librarian of 

Congress, at Washington, D. C. 



V. 



• • e 



• • • 

• • •• 
• » » 



• _••» »'t»» 



« » . f>t 



» • 
* • 



• » » 



CONGRESS, 






Two Copiea Received 






JUN. 17 1901 






Copyright entry 
CLASS ^XXc N». 


PAN-AMERICAN EXPOSITION, 


1901. 


COPY 3, 


Buffalo, N. Y. , U. S. 


A . 



Office of Director-General. 

March 30, 1901. 
To whom it may concern: — 

Mr. David Gray of this City has "been 
granted hy the Exposition a concession to 
publish the Art Catalogue of the Exposition^ 
which will he a hook in reality a memorial 
of the ideals of the Exposition in Archi- 
tecture, Sculpture and Pine Arts. 

WILLIAM I. BUCHANAN, 

Director-General . 



The articles, pictures and catalogue descriptions in the 
Pan-American Art Hand Book are copyrighted, 
and publication thereof without permission is forbidden. 






\ r..k^ ^'««- -^ -"^^ ^^ 



This Art Hand Book was made by the 
publishing and printing house of ISAAC H,. BLANCHARD 
CO,, in the city of New Torky at 268 and 270 Canal Street, 
200 feet, iij9 inches east of Broadway. * 



PREFACE 

In the Pan-American Exposition, American Architects, 
Sculptors and Painters have had an opportunity rarely accorded 
the artists of any nation in any period. The wise and liberal 
policy of the officers of the Exposition has enabled them to attempt 
the most beautiful composition which the artistic genius and me- 
chanical skill of the United States could create. The result sur- 
passes not only everything which this country has produced, but 
in many respects all the world's previous efforts, when the scale 
of the plan, its perfection and beauty of detail are considered. The 
sight-seer who views the Exposition as the expression of what is 
best in American civilization will feel a new confidence that Am.eri- 
can ideals are not merely commercial ideals, and that a national 
sense of beauty is not lacking but only waiting to be developed. 

The purpose of this little book is to help to explain the 
purpose of the men who have made the Exposition beautiful. 
The architecture, sculpture and color, as well as the pictures, 
have a meaning which must be appreciated if the best enjoy- 
ment is to be derived from the Exposition. The men who have 
made or directed the making of all these things have consented 
themselves to tell about their work, and it is their words which 
give the Art Hand Book a claim to the attention of the public. 

The Editor wishes here to express acknowledgment of his 
debt to all those who have rendered assistance at a time when it 
could only be done at great sacrifice. Particularly to Messrs. 
Coffin, Carrere, Turner, Bitter and Bosworth are due whatever 
merits the book may have as a source of accurate information. 
Great assistance was rendered also by Messrs. Bennitt and 
Brush, of the Bureau of Publicity, and by Mr. F. W. Taylor, 
and other Exposition Officials. To Mr. C. D. Arnold, the 
official photographer, are due the thanks of the Editor for per- 
mission to publish the remarkable pen and ink drawings of 
Exposition Architecture and Sculpture made by Mr. D. Urqhart 
Wilcox. It is seldom that a book made with the haste which 
the conditions of such a publication impose is so creditable to 
the printer's art as this. Acknowledgment is made with pleasure 
to the Blanchard Press, and to the proprietor thereof, Mr. Isaac 
H. Blanchard, for his untiring eflForts. To the personal friends 
who have assisted the Editor in his undertaking with their talent, 
time, advice and encouragement there has accrued a debt which 
cannot be paid. The Editor. 



Officers of the PAN-AMERICAN EXPOSITION 



JOHN G. MILBURN, President 



EDWIN FLEMING, Secretary 



GEORGE L. WILLIAMS, Treasurer 



DIRECTORS 



FRANK B. BAIRD 
GEORGE K. BIRGE 
HERBERT P. BISSELL 
GEORGE BLEISTEIN 
JOHN M. BRINKER 
CONRAD DIEHL 
W. CARYL ELY 
H. M. GERRANS 



CHARLES W. GOODYEAR 
HARRY HAMLIN 
WILLIAM HENGERER 
CHARLES R. HUNTLEY 
JOHN HUGHES 
WM. H. HOTCHKISS 
J. T. JONES 
F. C. M. LAUTZ 
GEORGE L. WILLIAMS 



JOHN G. MILBURN 
E. G. S, MILLER 
H. J. PIERCE 
JOHN N. SCATCHERD 
R. F. SCHELLING 
CARLETON SPRAGUE 
THOMAS W, SYMONS 
GEORGE URBAN, JR. 



.^• 



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EXECUTIVE 



COMMITTEE 



GEORGE K. BIRGE 
CONRAD DIEHL 
HARRY HAMLIN 



JOHN N. SCATCHERD, Chairman 

CHARLES R. HUNTLEY CARLETON SPRAGUE 

J. T. JONES THOMAS W. SYMONS 

ROBERT F. SCHELLING 



GEORGE W. AMES, Secretary to Chairman 



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^'Sr 



WILLIAM I. BUCHANAN, Director-General 



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KARL BITTER, Director of Sculpture 

CHARLES G. TURNER, Director of Color 

WILLIAM WELLES BOSWORTH, Chief of Architectural Bureau 

RUDOLF ULRICH, Supervising Landscape Architect 



BOARD OF ARCHITECTS 



GEORGE F. SHEPLEY 
R. S. PEABODY 
WALTER COOK 



JOHN M. CARRERE, Chairman 
J. G. HOWARD 
GEORGE CARY 
E. B. GREEN 



AUGUST C. ESENWEIN 
C. Y. TURNER, Ex-officio 
KARL BITTER, Ex-officio 



DIVISION OF FINE ARTS 

WILLIAM A. COFFIN, Director CHARLES C. CURRAN, Assistant Director 

Committee on Fine Arts 
T. GUILFORD SMITH, Chairman 



J. J. ALBRIGHT 
WILLIS O. CHAPIN 
WILLIAM C. CORNWELL 



WILLIAM A. KING 
RALPH H. PLUMB 
GEORGE P. SAWYER 
MRS. J. J, ALBRIGHT 



L. G. SELLSTEDT 
CARLETON SPRAGUE 
MRS. CHARLES CARY 



THE PAN-AMERICAN EX 
POSITION FLAG 

By Professor Edv/ard S. Holden 




Designed by Miss Adelaide J. Thorpe. 

[The Pan-American flag is quadrangular and is divided into three sections. 
The triangle nearest the staff is blue, with the North Star upon it in white. 
The triangle at the opposite corner is red, on which the four stars of the Southern 
Cross are set in white. The parallelogram between the triangles is white, on 
which an eagle in gold is depicted. Professor Edward S. Holden of Colum- 
bia University, who is the leading authority on the symbolism of flags, has 
written the following explanation of the Pan-American flag for the Art 
Hand-Book.] 



A FLAG is an emblem, a symbol, 
and like all symbols should summarize 
and express a history. The national 
flag of the United States, for example, 
expresses a history of thirteen colonies 
originally banded together to resist 
tyranny, and afterward joined in a 
Federal Union, which now includes 
forty-five sovereign States — a star for 
each State, a stripe for each colony, a 
blue union to hold new stars for new 
States as they shall be created and ad- 
mitted. 

The colors red, white, and blue are 
the revolutionary colors. Our inde- 
pendence was founded on revolution. 



In the French tricolor, adopted in 
1794, the revolutionary colors appear 
in three broad vertical stripes. The 
independence of all the States of North 
and South America was founded on 
revolution against the rule of Europe ; 
therefore the colors red, white, and 
blue have been adopted for the inclined 
bands of the brilliant flag of the Pan- 
American Exposition of 1901. The 
red and the blue bands are triangles. 
The revolutionary flag of Puerto Rico 
bore a blue triangle with a single silver 
star ; a red triangle with a silver star 
forms a prominent part of the flag of 
Cuba ; red, white, and blue stripes 



Art Hand-Book 



distinguish the flag of Hawaii; also 
every State and dependency of the 
United States of America is symbolized 
and expressed in the Exposition flag. 

The red ensign of Great Britain, 
marked with a coat of arms, is the flag 
of Canada. All of the northern coun- 
tries of the American continents col- 
lectively are symbolized by the cool 
blue segment which bears the single 
star — the North Star — Polaris. All 
of the southern countries collectively 
are symbolized by the warm red seg- 
ment charged with the four stars of 
the Southern Cross (which is itself an 
emblem of the vast Republic of Brazil). 
The white band between these seg- 
ments is the white band of Peace. It 
bears the eagle of liberty, and the eagle 
forms a part of the arms of the United 
States, of Mexico, and of Colombia. 

Over the head of the eagle is the 



rising Sun, which is found on the flags 
of the Argentine Republic, Uruguay, 
Bolivia, Peru, Costa Rica, and the 
Greater Republic of Central America. 
The intertwined palm-branch and 
pine again express the union of the 
North and South. Stars are found, 
either singly or in groups, on the flags 
of Samoa (a dependency of the United 
States), Chile, Paraguay, and Vene- 
zuela. 

The colors of the flags of all the 
Pan-American countries are combina- 
tions of red, white, blue, yellow, and 
green, and every one of these colors is 
represented in the Exposition Flag. 
The simple motto Pax (Peace) sym- 
bolizes a relation that the Exposition 
itself will greatly foster. In this flag 
we find the expression of the policy of 
a great group of powerful and enlight- 
ened nations. 



<*WHAT SHALL WE 
NAME IT?" 

By Richard Watson Gilder 

(Written after seeing the Exposition lighted on the night of May i8, 190 1.) 



What shall we name it. 

As is our bounden duty — 

This new, swift-builded, faery city of beauty? 

What name that shall not shame it — 

Shall make it live beyond its too short living 

With praises and thanksgiving? 

Its name? How shall we doubt it? 

We who have seen, when the blue darkness falls. 

Leap into lines of light its domes and spires and walls. 

Pylons and colonnades and towers. 

All garlanded with starry flowers! 

Its name — what heart that did not shout it. 

When from afar flamed sudden against the night 

The City of Light! 



THE PURPOSES OF THE 
EXPOSITION 

By John G. Milburn, President 



The act of Congress providing for 
a federal building and exhibit at the 
Pan-American Exposition states that it 
is desirable to encourage the holding of 
the Exposition *' to fittingly illustrate 
the marvelous development of the west- 
ern hemisphere during the nineteenth 
century by a display of the arts, indus- 
tries, manufactures, and products of the 
soil, mines, and sea." The joint reso- 
lution of Congress previously adopted 
declared that this development was to 
be illustrated by a ** demonstration of 
the reciprocal relations existing between 
the American Republics and Colonies." 
In these declarations the real object of 
the Exposition was comprehensively ex- 
pressed at the outset, and it has been 
kept steadily in view. It is clearly re- 
vealed in every feature of the Expo- 
sition: in the architectural scheme, 
suggestive of the history of so much of 
this hemisphere ; in the restriction of 
the exhibits to its " resources, indus- 
tries, products, inventions, arts, and 
ideas "; and in the active participation 
of practically all of its peoples and coun- 
tries. To have brought all of those 
peoples together for the first time in the 
accomplishment of such an object is the 
crowning achievementof the Exposition. 

Originating in this clear and definite 
conception, the scheme of the Exposi- 
tion has been carefully and intelligently 
evolved. From the first there has been 
a firm determination that it should be 
commensurate in its scope, plan, dig- 
nity, and execution with the aim in 



view. That was the spirit of the com- 
mission to the men intrusted with its 
creation in all of its departments. They 
were left free to produce the best re- 
sults, and it is under such conditions 
that they have produced them. They 
have received from the management the 
fullest sympathy and support at every 
turn. As a consequence there has been 
thorough cooperation and harmony in 
the elaboration and execution of the 
scheme of the Exposition — a scheme 
of impressive originality, beauty, and 
completeness, probably unexcelled in 
the history of expositions. 

So much could not have been ac- 
complished but for the association of 
the Exposition with a grand idea — the 
bringing closer together of the peoples 
of this hemisphere in their social, po- 
litical, and commercial relations. That 
aspect of it has been the inspiration of 
the enterprise and the source of the 
enthusiasm which has carried it for- 
ward to completion. It is assured of 
permanent results in the new and closer 
ties of amity,- interest, and sympathy be- 
tween those peoples which are bound 
to spring from it and to stamp it as an 
historical event. And in it is the fair- 
est promise that the hope will be real- 
ized so nobly expressed in the inscrip- 
tion on the Propylaea, "that the century 
now begun may unite in the bonds of 
peace, knowledge, good will, friendship, 
and noble emulation all the dwellers on 
the continents and islands of the New 
World." 




A SKETCH of EXPO- 
SITION HISTORY 

By Hon. Conrad Diehl, Mayor of BufFalo 



The Pan-American Exposition is not 
the conception of a single mind. It is 
not the result of the eifort of any one 
man. It is the result of systematic, 
vigorous, and effective work on the part 
of the people of Buffalo, animated by 
public spirit and a feeling of pride in 
their city. The subscriptions to its stock 
and bonds have come alike from the 
abundance of the capitalist and the sav- 
ings of the w^age-earner. It required 
for its successful accomplishment persist- 
ent and long- sustained effort. 

The Banquet given to the Mayor at 
the Iroquois Hotel in January, 1898, 
may be said to be a turning-point in the 
history of Buffalo. There was awak- 
ened on that occasion a spirit of energy, 
confidence, and progress in the commu- 
nity which had hitherto lain dormant. A 
public courage, a civic patriotism and 
pride, sprang up, with the result of chang- 
ing almost in a few months the charac- 
ter of this community. Every industry 
has felt a new and stimulating impetus, 
and the municipality has gained a new 
standing in the world's eyes. Rising up 
out of a long period of industrial depres- 
sion and hard times, Buffalo has con- 
tributed over five millions of dollars 
toward the construction of this wonder- 
ful and beautiful Exposition. 

The idea of a Pan-American Exposi- 
tion to be held upon the Niagara fron- 
tier was first suggested in 1895. The 
expression ** Pan-American " was prob- 
ably first used by the late James G. 
Blaine in urging his policy of commer- 
cial reciprocity with the South American 
Republics. 

In June, 1 897, the Pan-American Ex- 
position Company was incorporated, 
and in the following July President 
McKinley drove a memorial stake upon 



the then projected site on Cayuga Island, 
near the Village of La Salle. 

In the Spring of 1898, the Ways 
and Means Committee of the Nadonal 
House of Representatives said in its 
report : 

'* A Pan-American Exposition on the 
scale and plan proposed will stimulate 
trade and encourage commercial and 
social relations between the United 
States and the Republics of South and 
Central America and also with the Do- 
minion of Canada. 

** The suitability of the Niagara frontier 
for the purpose of such an Exposition is 
peculiar and emphatic, as it presents, in 
a remarkably complete manner, all the 
requirements and advantages desirable 
for such an enterprise. The Niagara 
frontier is the centre of the largest popu- 
lation on the North American continent. 
Within a radius of 500 miles there is a 
population of over 38,000,000 having 
unparalleled railroad and Hke communi- 
cation with the very best passenger and 
shipping facilities connecting with all 
parts of the Western Hemisphere. 

** The Niagara frontier, intersected by 
the famous Niagara River flowing from 
Lake Erie over the still more famous 
Falls, through the picturesque gorge to 
Lake Ontario, is a location of vast histor- 
ical importance and great natural inter- 
est. At the outlet of Niagara River is 
the thriving city of Buffalo, the gate- 
way through which ebbs and flows a 
vast tide of traffic by land and water 
between the Far West, the Northwest, 
the Dominion of Canada, the Atlantic 
Seaboard, the great mining and industrial 
territory of Ohio and Pennsylvania, and 
the New England States." 

The war with Spain, however, com- 
pelled the indefinite postponement of the 



8 



A Sketch of Exposition History 



enterprise. On December 5, 1898; I 
sent a special message to the Common 
Council which recommended a reorgani- 
zation of the project upon a larger basis 
with a new charter, and urged prompt 
and vigorous action. The public and 
the Press of BuiFalo responded with great 
enthusiasm, and a provisional committee 
upon organization was appointed. In 
January, 1898, the new charter was ap- 
proved by Governor Roosevelt, and the 
banquet was held at which nearly half 
a million dollars was subscribed. In 
March, 1898, there were bills approved 
by both State and National executives 
authorizing exhibits on the part of the 
State and Nation at the proposed Expo- 
sition, and in the same month the organi- 
zation of the Exposition Company was 
perfected. A Board of Directors was 
elected by the incorporators, which in 
turn elected officers of the Company. 
On May 13,1 899, the site upon which 
the Exposition stands was selected, but 
the lease for it was not signed until the 
5 th of the following September. On 
May 1st, 1 90 1, the gates were opened 
to the public. Thus in less than twenty 
months from the signing of the lease the 
Pan-American Exposition was created. 
The industrial growth and benefit to the 



City which will accrue from this Expo- 
sition and the civic effort which it has 
engendered are difficult to estimate. It 
has already drawn the attention of capi- 
talists to Buffalo's great manufacturing 
possibilities, to its electric power, and the 
industrial advantages of its geographical 
situation ; to its great harbor and its de- 
lightful and beautiful residential character. 
If the Exposition did nothing for Buffalo 
but give work to its wage-earners, it 
would be well worth the effort ; if it 
does no more than to unite the business 
community, it has served a great purpose; 
if it does no more than stimulate in a 
healthy way industry and commerce, it 
would be of the highest importance and 
well worth the lavish expenditure of 
brains and energy which it has involved. 
To the Women of BuiFalo, whose en- 
thusiastic co-operation has been of so 
much assistance to the Exposition, the 
thanks of the citizens of Buffalo are es- 
pecially due. The gentlemen who have 
labored untiringly and unceasingly, with 
no hope of reward other than a share in 
the common good, have won the grateful 
appreciation of their fellow-citizens, and 
their best memorial will be the success 
of the beautiful project which they have 
realized. 




A SHORT SERMON FOR 
SIGHT-SEERS 

By Edward S. Martin 

Author of ** Windfalls of Observation," etc. 

[Mr. Martin's wise and gentle philosophy is familiar to those who read "The Busy World " department in 
*' Harper's Weekly" and to those who have enjoyed his published essays. His advice to sight-seers at the 
Pan-American Exposition written for the Art Hand-Book is recommended not only as being pleasant to read 
but profitable to follow. — Editor.] 



Life is worth living, but you won't 
think so unless you live it well. The 
Pan-American is worth seeing, but not 
for you unless you see it right. To the 
process of seeing a fair there are two fac- 
tors. One is the fair ; the other is 
yourself. If the fair is not well devised 
and managed it will not give you what 
you ought to get; and if your considera- 
tion of it is not well ordered and con- 
ducted you will not get out of it what 
you should. Due attention has been 
paid and pains taken and money lavished 
to make the Pan-American worth your 
trouble to look at. Be so good, in your 
turn, to take pains to see it wisely. 

Give it time. Don't try to bolt it. You 
can't digest all you see at a great fair at the 
time you take it in. To gather impres- 
sions that will lie in your mind until you 
have time to bring them out and think 
about them is part of the lawful busi- 
ness of fair-going. But get your im- 
pressions as distinctly as you may. 
Dwell on what appeals to you until it 
takes form in your mind. The means 
of comparison is one important thing 
that great fairs afford. Try to get out 
of the Pan-American as large an equip- 
ment of that sort as it will yield. One 
comparison will force itself upon you 
from the start. If you went to the Chi- 
cago Fair, you will say, **This fair is not 
so big as that." It is not, but it is even 
more beautiful. It has not aimed to be 
very big, but it has aimed to be as beauti- 
ful as contemporary art and labor can 
make a fair. Take in its beauty. Don't 
leave that behind, but carry it away with 



you. There is education in it, and at 
the same time there is delight. 

Don't neglect delight. The impres- 
sions that stick best and last longest are 
those that please us while we are form- 
ing them. By all means get pleasure 
out of the fair. Unless you do, your ex- 
perience of it will be imperfectly suc- 
cessful. Don't drive yourself to do 
more than your strength is equal to. 
Don't tire yourself out with overmuch 
gadding; for a tired body means a tired 
mind, and the tired mind is not recep- 
tive. If you are pressed for time make 
your inspection general and neglect par- 
ticulars. But even so, make it as leisurely 
as you can, so that what you do see you 
may assimilate. 

Be considerate of yourself and of any 
one who may be your companion. Feed 
yourself considerately at proper inter- 
vals. Rest yourself and be kind to 
yourself generally. If any one is getting 
ahead of you and covering more ground 
than you are in the same time, let him 
get ahead. What counts in the end is 
not so much what one is able to see as 
what he is able to think about it. Per- 
haps you will get more thoughts out of 
what you see than that other will whose 
pace is hotter. Anyhow, fairing is a 
holiday occupation, and if you make 
too much of a workaday job of it you 
may miss more than you gain. 

It is a mistake to be one of too large 
a company in going the rounds of a 
fair. Stick to one or two persons 
whose energies match yours, who are 
willing to neglect some of the things 



lo 



A Short Sermon for Sight-Seers 



you don't care for to dwell on the 
sights you want to dwell on, to sit 
down when you do, and to rest or go 
home when you are tired. If you find 
it necessary to yield your preferences 
to theirs in some details, that may be 
your gain and save you from passing 
by some things that you ought to look 
at. Take with you daily to the fair 
whatever store of good manners, cour- 
tesy, and good humor the experiences 
of life may have left at your command. 
After financiers, architects, managers. 



collectors, exhibitors, and advertisers 
have done their utmost to make a fair 
glorious, it may still fail to be pleasant 
unless pleasant people go to it. No- 
thing does quite so much to make a 
fair ** go off" as lots of pleasant peo- 
ple. Nothing shown at a fair is more 
interesting or more generally observed 
than the fair-goers. 

Please remember that when you get 
inside the gates you are part of the 
show and should take due pride in 
doing it credit. 




• TI\JVnP/-\AL 



II 




• • • 



ARG/I— 
-ITEGTVRE • 

THE ARCHITEC- 
TURAL SCHEME 

By John M. Carrere 
Chairman Board of Architects 



■I 



It is interesting, in comparing the last 
great exposition, held in Paris, with the 
first exposition, held in the Crystal Pal- 
ace, Hyde Park, just fifty years ago, to 
note the marked development of the ex- 
position idea in all its features. The 
growing importance of expositions is ap- 
parent in their size and in the number 
of their exhibits, which can now be as- 
sembled with comparative ease from all 
parts of the world. It has also been 
possible, as demonstrated in Paris, to 
develop the educational idea to the high- 
est extent, and to illustrate very com- 
pletely in each branch of exhibits the 
historical sequence of the development of 
the special industry, craft, or art in all 
countries. 

Notwithstanding the magnificence and 
far-reaching industrial and commercial re- 
sults of recent expositions, no feature has 
assumed greater importance or is now 
better recognized as an essential factor in 
the success of every exposition than the 
development of the artistic treatment of 
the grounds and buildings, that is the 
architectural setting of the Exposition. 
The great extent of expositions and the 
rapidity with which the buildings must be 
erected has led to the use of inexpensive 
materials, such as wood and plaster, 
which can be readily handled and made 
to express the artist's conception with- 
out regard to permanency. 



THE POINT OF VIEW OF EXPOSITION 
ARCHITECTS 

The question of permanency in scheme 
and treatment has been an interesting one, 
and the great pliability of the materials 
used has led the designers of expositions 
in Europe and in America to work from 
totally different points of view. The 
European has invariably attempted to ex- 
press the temporary character of the Ex- 
position in his designs. The American, 
on the contrary, has made every endeavor 
to impress his expositions with the char- 
acter of permanency and reality. Both 
points of view are interesting and reason- 
able when properly applied, and un- 
doubtedly the object-lesson of the Chicago 
Exposition was timely and beneficial. 

The European, surrounded as he is by 
many fine examples of great architectural 
compositions and with many opportuni- 
ties of executing extensive permanent 
schemes even to-day, would hardly be in- 
terested in producing in temporary ma- 
terials, on a larger scale, perhaps, com- 
positions of the character of Versailles, 
the Place de la Concorde, and other great 
monumental ensembles, as was done in 
Chicago. He could never expect to 
equal, much less surpass, the beauty of 
these permanent structures, built with 
great care and after much deliberation 
and study, the interest of which has been 



12 



The Architectural Scheme 



enhanced by the mellowing effect of time 
and the development and growth of their 
surroundings. He looks upon an expo- 
sidon as an opportunity for artistic ex- 
periment and the execution, in temporary 
materials, of every dream of his imagina- 
tion, no matter how fantasdc. The fact 
that these experiments are temporary en- 
courages him to dare, and one single 
great success justifies, in his eyes, the 
entire experiment. He dares to do in 
an exposition, and is allowed to do, 
what no sensible person would think of 
attempting in permanent form. In the 
American's case the conditions are en- 
tirely different — he must educate his ar- 
tists and the public. He must create per- 
manent works of art before he can afford 
such flights of imagination as the French 
indulge in. 

The importance of the architectural 
setting of expositions becomes even 
greater when the matter is considered 
from the American's point of view. The 
Philadelphia Exposition, though it taught 
no special lesson, exercised, perhaps, in 
a general way as great an influence upon 
the arts and manufactures of the country 
as did the Chicago Exposition ; but it did 
not make the same impression upon the 
public mind, because its setting was much 
less impressive than that at Chicago, 
which presented a magnificent ensemble 
of monumental buildings of classic style, 
severe and imposing, almost solemn in 
their appearance and at a most impres- 
sive scale. To most visitors this impres- 
sion was entirely novel and lasting. It 
was a lesson which has already awakened 
in this country a better understanding 
and appreciation of monumental archi- 
tecture and a broader interest in art. 

At Buffalo, the Board of Architects of 
the Pan-American Exposition, with a full 
realization of the importance of the task 
imposed upon them and with the desire 
to avoid reminiscences of the Chicago 
Exposition, decided that the purpose of 
the setting of this Exposition should be 
to develop a picturesque ensemble on a 
formal ground plan, introducing archi- 
tecture, sculpture, and painting as allied 



arts. They did not wish to go as far as 
the French in expressing the temporary 
character of their buildings, nor, on the 
other hand, to the other extreme as in 
Chicago, and yet it seemed essential to 
retain the balance and sympathy which 
are necessary in all artistic compositions. 
The adoption of a scheme entirely formal 
in its plan with well-balanced masses, 
but with absolute freedom in the devel- 
opment of the individual feature within 
these given lines, seemed not only a rea- 
sonable compromise with the two points 
of view previously mentioned, but also 
full of possibiUties, for, without restrain- 
ing the imagination it would tend to keep 
it within reasonable bounds and to make 
the Exposition more real in its applica- 
tion to the conditions of design in real 
life. 

The very spirit of American planning 
on a large scale has heretofore been not 
only symmetrical, but even monotonously 
so, as is illustrated in almost every city of 
this country. The work of the future 
must be influenced by existing conditions 
which are beyond our control except in 
so far as we may modify or improve them 
— for we cannot eliminate them. It was 
therefore hoped that the attempt to com- 
bine the picturesque with the formal and 
to introduce decorative sculpture and col- 
or as factors of the design might be as 
suggestive in its way and as far reaching 
in its influence as the lesson taught at 
Chicago. 

It would have been even finer if the 
Board of Architects could have gone a 
step farther in their object-lesson and de- 
signed a scheme of which at least the 
main features of the architectural compo- 
sition could have remained as a perma- 
nent improvement in the locality. A few 
detached features or buildings always re- 
main to testify to the beauty of an expo- 
sition, the greater part of which passes 
away and becomes but a memory. How 
much finer if the whole scheme could re- 
main so that w^hen the temporary build- 
ings are removed their places might be 
taken gradually by permanent buildings, 
different in character, it is true, but with 



13 



Art Hand-Book 



the proper setting. One can almost con- 
ceive the growth of an American Champs 
Elysees, with its Triumphal Arch at one 
end and its Place de la Concorde and the 
Tuileries at the other ! Could anything 
be finer than to use an exposition as a 
means of obtaining permanent improve- 
ments of this magnitude ; and is not, after 
all, an exhibition the only way in which 
we can ever expect to obtain any such 
results ? Let us hope that it vdll be pos- 
sible to conceive the next one on these 
lines. 

THE METHOD EMPLOYED IN BUFFALO 

The designing of the Pan-American 
Exposition was intrusted to a Board of 
eight architects, who, after examining the 
site and studying the problem in all of 
its bearings, decided on the general feat- 
ures of the block plan in joint conference, 
and determined, in a general way, the 
character of the Exposition and the un- 



derlying principles which should influ- 
ence its development. The subdivision 
of the work and the allotment to the in- 
dividual architects was reserved until all 
matters of general interest had been de- 
termined and agreed upon. The main 
points decided by the Board, as already 
stated, were that the Exposition should 
be formal in plan and picturesque in de- 
velopment, and that the style of the build- 
ings should be of the Free Renaissance ; 
that apparent roofs with overhanging 
eaves should be used in preference to flat 
roofs with cornices and balustrades ; that 
color and decorative sculpture should be 
introduced freely into the treatment of 
the buildings, and that the character of 
the Exposition should be as gay and fes- 
tive as possible, so that it would be a hol- 
iday affair. 

The work was then subdivided into 
eight parcels and allotted to the different 
architects constituting the Board, as fol- 
lows : 



Peabody & Steams, Boston, Mass. 



Supervising Architect United 
States, ex - officio member of 
Board. 

BuflFalo, N. Y. 

Esenwein & Johnson, Buffalo, 
N. Y. 

Green & Wicks, Buffalo, N. Y. 

Shepley, Rutan & Coolidge, Bos- 
ton, Mass. 

New York. 

Babb, Cook & Willard, New 
York. 



Carrfere & Hastings, New York. 



R. S. Peabody, 

James Knox Taylor, 

George Gary, 
August Esenwein, 

Edward B. Green, 

George F. Shepley, 

John G. Howard, 
Walter Cook, 



John M, Carr^re, Chairman, 
Board of Architects, and Will- 
iam Welles Bosworth, Asso- 
ciated, 



It was decided to resume the meet- 
ings of the Board from time to time in 
order to harmonize the work of the dif- 
ferent architects and in order that all 
important questions should be decided 
by the whole Board, and not by any 
individual. Later Mr. Karl Bitter, as 
Director of Sculpture, and Mr. C. Y. 
Turner, as Director of Color, were 
made members of the Board, each hav- 
ing charge of his special department in 
consultation with the Board ; the Build- 
ing and Grounds Committee and, at 



Horticultural Building, Forestry 
Building and Graphic Arts Build- 
ing. 

United States Government Build- 
ing. 

Ethnological Building. 
Temple of Music. 

Electricity Building and Machinery 
Building. 

Liberal Arts Building and Agricult- 
ural Building. 

Electric Tower. 

Treatment of Plaza and the en- 
trance to the Midway, the Propy- 
laea, entrance to the Stadium, and 
the Stadium. 

Development of the Block Plan and 
the complete treatment of the 
grounds and all features thereof 
other than the buildings above 
referred to. 



times, the Executive Committee par- 
ticipated in these deliberations. 

In selecting the Board of Architects 
the Building Committee evidently had 
in mind the record of the architects and 
their ability to perform this particular 
work ; but they were specially fortunate 
in selecting eight men whose views could 
be harmonized and who could work 
together in a spirit of emulation rather 
than of competition. This was an im- 
portant factor to be considered in the 
success of the scheme, because, having 



14 



The Architectural Scheme 



decided on the formal plan picturesquely- 
developed, the difficulty of maintaining 
the general harmony in the execution of 
the design was greater than at Chicago, 
for instance, where the formality was 
carried into the buildings as well as into 
the scheme. 

In passing judgment upon the work 
of the Board it is necessary to bear in 
mind that the object throughout has 
been to develop the greatest possible 
harmony in the general effect at the ex- 
pense, when necessary, of individual 
preferences or even of the excellence of 
any single work. Each individual work 
must, of course, be judged on its own 
merits, but it must be considered first of 
all in its relation to the whole, because 
no man was allowed entire fi-eedom and 
every one was more or less obliged to 
curb his imagination and to hold himself 
in hand for the sake of the general result. 

THE SCHEME 

The site had been selected by a 
Special Committee, and when the Board 
of Architects came into existence they 
found the general conditions already es- 
tablished. The site in itself offered no 
features which were characteristic of the 
city of Buffalo or of the locality, such 
as a site along the lake-front might have 
given, and there was the danger, on 
this account, that the Exposition might 
be lacking in local individuality. The 
plateau was perfectly level, virtually a 
vacant lot, without any commanding 
feature excepting a soHtary row of pop- 
lars along Amherst Street and proximity 
to the Park, one of the most beautiful 
creations of Frederick Law Olmsted, 
and approached from the city through 
Delaware Avenue, which thus brought 
the city and the site together in a most 
attractive manner. 

It was apparent that the Exposition 
must be strongly influenced by its prox- 
imity to she Park ; but, as it was out of 
the question to alter the Park, even to 
the extent of removing any great num- 
ber of its beautiful trees, and it was 



therefore impossible to extend the Expo- 
sition into the Park, it was decided to 
extend the Park into the Exposition, 
and to obtain a gradual transition from 
the natural scenery of the Park, which 
was not to be disturbed, into the formal 
setting of the Exposition, and thus to 
make them part of each other. 

The relatively Hmited area of the 
grounds made it practicable to avoid the 
difficulty encountered in the designing 
of most expositions where a beautiful 
setting or picture, which should have a 
principal point of view from which it is 
intended to be first seen, is approached 
from other sides so that the intended 
first impression, which is always the 
most lasting, is frequentiy entirely 
missed. It was possible to paint this 
picture at Buffalo with a definite view 
point, placed at the Triumphal Bridge, 
and to make the principal approach 
through the Park, so that the spectator, 
as he approaches the Exposition, will see 
it develop gradually until he reaches the 
Bridge, when the entire picture will 
appear before him and almost burst 
upon him. 

Other minor entrances had to be pro- 
vided, the most important one at the 
north for the railroad, and yet the view 
of the Exposition as the visitor ap- 
proaches it from the north will be nearly 
•as complete as the main view from the 
causeway. The travel by street-cars 
necessitated an entrance at Elmwood 
Avenue, but every inducement is here 
offered the visitor to travel along the 
Park line to the Bridge, rather than in 
other directions, so that it can be said 
that this Exposition has but one entrance, 
and that the great majority of visitors 
will certainly approach it for the first 
time through that entrance. This im- 
portant feature having been determined, 
the scheme developed gradually on very 
simple Knes. The main axis had to be 
north and soutn ; around this axis were 
grouped the secondary axes. The first 
important one, the Axis of the Espla- 
nade, with its curved enas and its back- 
ground of buildings, its Pergola on the 



15 



Art Hand-Book 



south facing the lake gradually leading 
into the natural landscape of the Park ; 
farther north, Amherst Street with the 
row of poplars, which has been main- 
tained and made a part of the scheme. 
The buildings were grouped around this 
main axis on secondary axes, but in each 
instance the symmetry was preserved, 
not only in the ground plan, but in the 
importance of the buildings and their 
corresponding masses. 

The Electric Tower was placed at 
the apex of the composition, and early in 
the proceedings it was decided that it 
should be the most conspicuous and 
highest feature. The general height of 
the other buildings in their relation to 
each other and to the Electric Tower 
was also determined on symmetrical 
lines, and here the visitor will see what 
is meant by ** formality picturesquely 
developed ' ' when looking at the at- 
tempt to balance two buildings as totally 
different in character, purpose, and design 
as the Horticultural Building on the one 
side of the Esplanade and the Govern- 
ment Building on the other, or the 
Electricity and Manufactures Buildings 
on the one side of the main axis and the 
Liberal Arts and the Agricultural Build- 
ings on the other. 

In order clearly to define the impor- 
tance of this architectural setting, and 
also to make room for the numerous 
secondary buildings and side-shows, 
which could not well be brought into 
harmony with this main part of the 
composition, the very interesting feature 
of the canal was adopted at the sugges- 
tion of the laymen of the Board. This 
canal places the main part of the scheme 
within well-defined and formal limits 
and permits of all the more freedom be- 
yond its boundaries. It is the means of 
separating the discordant elements of the 
scheme and yet of harmonizing them. 

It was necessary on arriving by rail 
on the north, to approach the composi- 
tion somewhat gradually, and, for this 
reason, the Plaza was introduced and 
treated as a small Court of Honor. 
Being such a distinctive feature of the 



Exposition, when looked at as a whole, 
it was thought advisable that its develop- 
ment with the Stadium on one side, the 
Midway Plaisance on the other, and the 
Propylaea as the final line of demarcation 
of the Exposition, should be treated as a 
whole ; for this reason the Plaza, with 
its surrounding buildings, was allotted to 
one architect. It is the only feature of 
the grounds which was thus treated in- 
dependently fi-om the general develop- 
ment of the grounds and landscape work. 



THE LANDSCAPE SCHEME 

The detailed treatment of the grounds 
should be considered not only as indi- 
vidual features which may interest the 
visitor, but in its relation to the general 
scheme and to each building. It is in- 
tended to harmonize the ensemble and 
to bring the buildings into proper relation 
with each other. Each part of the land- 
scape work is studied not only as a setting 
for the building adjacent to it, but also 
to form a continuous and uninterrupted 
scheme, tying the whole composition 
together, accentuating its principal feat- 
ures, enhancing the salient characteristics 
of the individual buildings, giving accent 
and adding color to the perspective, 
and maintaining the scale of the whole 
scheme. 



THE RELATION OF THE SCULPTURE TO THE 
PLAN 

The sculpture, which is a most im- 
portant feature of the grounds, cannot be 
properly judged and appreciated unless 
it is considered not only as individual 
works of art, but also as a decorative feat- 
ure forming a part of the entire artistic 
scheme of the composition. In the study 
of the landscape work, the placing of the 
sculpture, its general character and mass, 
were carefully considered from its very 
inception, and it was in no case purely 
accidental. It was intended that the 
general treatment of the grounds should 
suggest the necessity for sculpture at the 



16 



The Architectural Schem 



different points where it has been placed, 
and that, in turn, the sculpture should 
be so designed as to belong clearly to 
the place where it is set. This has been 
carried so far that the story which the 
sculpture tells is intended to be a con- 
tinuous tale in itself; nevertheless the 
special subject of each piece has direct 
relation to its immediate surroundings. 



THE COLOR TREATMENT 

The color treatment of the Pan- 
American Exposition does not mean 
only the paint which is applied to the 
surfaces of the buildings, the bunting, and 
other brilliant spots, but it means what 
the artist calls color, the play of light and 
shade, form, outline, proportion, as well 
as actual color, all blending or contrast- 
ing with each other, as the case may 
require, and producing an ardstic effect 
from whatever point one may look at 
the Exposidon, like a well-composed 
landscape, of which, in this case, archi- 
tecture, sculpture, and painting, as well 
as nature, are component parts. 



THE SCALE 



In conclusion, one of the most impor- 
tant factors in the harmony of the entire 
artistic composition, which are generally 
felt but not understood by the layman, 
is what the artist calls *' scale," by 
which is meant the proper proportion of 
detail to the masses, and the proper rela- 
tion of these masses to each other and of 
the whole to the human stature, so that 
each building may look its actual size, 
and each part of the building may in 
turn bear its proper relation to that size. 
It must be apparent to anyone that to 
maintain the scale in a composition of 
this character, conceived, studied, and 
executed in a very short space of time, 
under the most difficult conditions and 
by different architects, constitutes a real 
difficulty, and yet the entire harmony of 
the composition, from the artistic point 
of view, would suffer in no case more 
than in the lack of scale. For this reason 
the main effort of the Board of Archi- 
tects has been to maintain this scale in 
every part of the composition, whether 
in the buildings, the grounds, the sculpt- 
ure, or the color. 




17 



HOW THE PLAN WAS 
CARRIED OUT 

By William Welles Bosworth 

[During the construction of the Exposition Mr. Bosworth acted as Mr. J. M. Carrere's personal 
representative and was also the chief of the Exposition Company's Architectural Bureau. — Editor.] 



The general axis-lines having been 
determined, and the relations of the 
buildings to each other and to the courts, 
it immediately became necessary to 
consider the very important subject of 
grades. The point determined on for 
the chief effect, i.e., the Electric 
Tower, was found from the survey to 
be two feet lower than the grade-level 
in the Esplanade. Imagine going down 
steps to approach a throne! All dig- 
nity as well as impressiveness would 
have been irretrievably lost. The 
Bureau of Works was therefore obliged 
to face the colossal task of filling all the 
ground on a gradually rising incline 
from the Esplanade to the rear of the 
Electric Tower (a distance of looo feet) 
to a height of lo feet at the high level. 

It was voted necessary by the Board 
of Architects to effect at least an 8- 
foot rise in order to obtain any sense 
of elevation, since it is a well-under- 
stood principle in architectural compo- 
sition that any lofty and slender struc- 
ture such as a tower seems to depress 
the ground on which it stands. This 
could not have been accomplished be- 
cause of restrictions in the land lease, 
had it not been that so much of the 
ground surface was covered by the 
buildings, whose footings, of course, 
were set upon the natural grade, with 
the floor-levels raised to the premedi- 
tated grade of the ground outside. It 
is interesting to know that all the high 
grades around the Electric Tower and 
north of the Mall were of necessity 
built of wooden trestlework on ac- 
count of a shortage in available earth, 
so that even the huge basin of water 
rests upon wooden spiles. 



The ground-levels being determined, 
the architects in charge of the land- 
scape work then proceeded to make a 
huge plan of the ensemble sufficiently 
large in scale to enable them to give 
detailed study to each little corner of 
the grounds, determining steps and bal- 
ustrades, terraces and planting-plots, as 
well as the larger and primal relations 
of fountain basins and sunken gardens, 
covered shelters and resting-places, in 
opposition to open spaces for the 
crowds, free ways for "circulation,** 
as it is called, and retired, picturesque 
corners. This plan also showed where 
trees were to be planted and the num- 
ber of them, where permanent seats 
were to be placed, and where every ped- 
estal for sculpture was to stand, as well 
as all the innumerable vases for flowers 
and tree-boxes and even lamp-posts. 

These were listed and numbered, 
every one with as much care as an 
army receives in the numbering of 
every common soldier in his separate 
company. This done, the detailed 
study of the separate features began. 
Each bridge, each fountain, each sepa- 
rate feature, whether rustic or formal, 
was studied out and drawn with as 
much minutiae as though it were the 
fa9ade of a building, while models in 
wax were made of the Grand Basin in 
the Main Court and of the Esplanade 
fountain basins, to enable the architect 
to determine, as he could from no flat 
drawing, the exact effect of every part. 
Even the water-jets in their height and 
volume were studied by means of wire 
and spun glass, and the lily-planting 
was indicated, as were the spots for 
flower-beds, by painting on the models. 



How THE Plan was Carried Out 



It is not commonly appreciated how- 
difficult and subtle a work it is to de- 
sign the lay-out of a great fountain 
basin. Its laws of composition are 
far less understood than are those of 
a building, yet are even more exacting, 
and the main axis-lines are unchange- 
ably fixed by the axes of the buildings 
round about. 

Thus the center of the Fountain of 
Abundance could not piay free of the 
axis-hne of the Tempie of Music and 
the Ethnology Building. Nor could 
the semicircular heads of the Espla- 
nade fountains vary in their relations to 
the axes of the transeptal arms of these 
basins determined by the buildings, 
all of which greatly increased the diffi- 
culties of composition. From these 
models, with all their pedestals and 
separate fountain features shown, Mr. 
Bitter arranged his sculptural themes 
or list of appropriate subjects, and a 
fact which is not at all apparent but 
even more remarkable is that in per- 
fecting his plan not one pedestal or 
sculpture feature was added to or 
omitted from the architect's plan, com- 
posed purely from the architect's point 
of view. 

Mr. Bitter's scheme adopted, lists 
were made of the names of those sculp- 
tors who were available, and men 
deemed by the architects and the 
sculptors' jury as especially fitted for 
the nature of each subject were selected 
for the various works. These gen- 
tlemen were then invited, after a 
general talk on the scope of the Expo- 
sition by Mr. Carrere and Mr. Bitter 
before the Sculptors' Society, to call at 
the office of the various architects, 
where they were made familiar with 
the subjects allotted to them, and the 
relations that must be maintained be- 



tween these subjects and those that 
should balance and compose architec- 
turally with them, and were requested 
to make small wax sketches for ap- 
proval before proceeding with the work 
at a larger scale. This was cooperation 
to a point never dreamed of by most of 
the sculptors, and some of them were 
obliged to submit numerous sketches 
before falling into line. 

The planting and flower-bed treat- 
ment had also to be studied at large 
scale, and the exact position of each 
cypress-tree or bay-tree or palm had to 
be determined and located by figured 
dimensions on the plans of the separate 
courts, so that stakes could be placed by 
the engineers. 

The flower-beds were drawn with 
equal elaboration, and lists of plants were 
made out by the supervising landscape 
architect, Mr. Rudolph Uhich of 
World's Fair fame, for the whole term 
of the Exposition, so that the fading ones 
might be replaced overnight by fresh 
flowering plants which were in the 
meantime being prepared or propagated 
in the greenhouses. 

Cypress-trees were brought a year in 
advance from New Jersey and set out 
of doors to become acclimated, while 
car-loads of palms and orange-trees and 
tropical plants were brought from Cali- 
fornia, and hundreds of bay-trees were 
imported from Belgium. 

Space does not admit more than the 
mentioning of these endless details, yet 
each was necessary to the unified com- 
pleteness of the whole ; and the observant 
and thoughtfiil visitor will experience an 
enriched sense of pleasure in his walks 
about the grounds, being somewhat 
acquainted with the modus operandi by 
which such a giant undertaking is neces- 
sarily carried to completion. 



19 



THE COLOR SCHEME 

By C. Y. Turner, Director of Color 



In considering a scheme of color treat- 
ment for the Pan-American Exposition, 
the Architecture, Sculpture, the purpose 
and character of the Exposition each had 
to be taken into account. The plan of 
Mr. Karl Bitter, Director of Sculpture, 
set forth in his article in another part of 
this book, seemed to me a very logical and 
proper treatment of the Exposition, and 
it seemed wise for me to pursue a similar 
course in the color treatment, so that I 
might, in this way, carry out the general 
scheme which was indicated in the plan 
of the grounds, buildings, and sculptural 
arrangements. Taking it for granted, 
then, that as we enter the grounds from 
the Park through the forecourt, the cause- 
way bids welcome to the visitors and the 
countries taking part in the Exposition, 
we would come upon the elementary 
conditions, that is, the earliest state of 
man suggested on one side, and primi- 
tive nature on the other. I concluded 
that the strongest primary colors should 
be applied here, and that as we advance 
up the grounds the colors should be 
more refined and less contrasting, and 
that the Tower, which is to suggest the 
triumph of man's achievement, should 
be the Hghtest and most delicate in color. 

It seemed to me very wise and neces- 
sary to supplement Mr. Bitter's idea and 
try to carry out in color the same thought. 
I therefore began at the entrance to the 
grounds with primitive or primary colors, 
and as I advanced up the Court and into 
the Exposition, the colors became more 
refined and grayer, reaching a climax at 
the Tower, which was to be the lightest 
and brightest in color. 

Since I wished in some way to em- 
phasize the great power which was being 
used to run the Exposition, the beautiful 
emerald-green hue of the water as it 
curls over the crest of Niagara Falls 
seemed to be a most fitting note to carry 
through the Exposition, and I therefore 



adopted it and have endeavored to carry 
this color on some portion of every build- 
ing. 

In the Tower I have given it marked 
emphasis and have made the general 
scheme here ivory-white, green, and 
gold. ^ 

This, then, is my general plan or 
scheme, and my wish has been to do all 
that was possible for me to do to express 
this idea and be in harmony with what 
I believed the Architects and Sculptors 
wished to say through their respective 
arts. 

A model of the various buildings made 
to scale was executed and erected in my 
studio, which covered a space of 1 2 feet 
by 1 6 feet. This model was made on a 
scale of one-sixteenth of an inch to the 
foot, and all the buildings were then 
colored and changed as was deemed 
necessary until a harmonious result was 
arrived at. 

The small model which I had built as 
colored could give only the tints of the 
body of the buildings and the roofs with 
some slight suggestion of towers and 
pinnacles. It was necessary, therefore, 
to be more explicit, and the drawings of 
each building were then taken up and 
colored in detail. First the elevations of 
the buildings, and then the great door- 
ways, towers, corner pavilions, entran- 
ces, finials, and all parts which might be 
treated. 

From various conversations which I 
had had with the Architects, Painters, 
and others who were interested in the 
Pan-American Exposition, I had gained 
the impression that the style of Archi- 
tecture was Spanish- American and that 
it was the desire of the Board of Archi- 
tects as well as of the Exposition Com- 
pany that the buildings should be treated 
with bright, brilliant colors, and that a 
suggestion of Spanish treatment of Archi- 
tecture in coloring should be given. I 



20 



The Color Scheme 



therefore studied this matter in the 
various works at my disposal and tried 
to familiarize myself with the manner of 
their treatment, and as far as possible 
produce a result which should resemble, 
as near as might be, work of that period. 
The Horticultural group has orange as 
a basis for the color of the body of the 
building. On the Government Build- 
ing a warm yellow is used for the 
plain surfaces. For the Music Hall, I 
have used red, quite pure, as the founda- 
tion color. On the Ethnology Building, 
golden orange. On the Machinery and 
Transportation Building green as the 
basis. Opposite it, across the Court, the 
Liberal Arts Building is a warm gray 
color. The Electricity and Agricultural 
Buildings are different shades of Hght 
yellow, while the Restaurant and en- 
trances to the Stadium have a French 
gray as the basis, with a lighter shade of 
the same tint on the Propylaea. For the 
Electric Tower I reserved a light ivory. 
The buildings of the Sunken Gardens 
are of a darker shade of ivory. In the 
Horticultural group I have used blue and 
white largely in the ornamental portions 
of the panels, pilasters, spandrils, etc., 
relieved now and again by brighter shades 
of rose and deep yellow. The Govern- 
ment Buildings have a mild gray for the 
structural portions to reHeve the yellow, 
and in this building, where it is possible, 
the green note is introduced in the sashes 
and doors ; blue on the dome, and gold 
on the smaller domes. Blue-green is on 
the dome of the Temple of Music, and 
is repeated again on the Ethnology Build- 
ing. On the Machinery and Transpor- 
tation Building red, yellow, and green 
are introduced in the great doorways, 
and corner pavilions, and also are dis- 
tributed through the towers, while blue 
and gold play a large part in the detail 
work of Liberal Arts Building, especially 
on the ceilings of the colonnades and 
east and west entrances, and in the 
great pediments of the north and south 
entrances. The yellow of the Elec- 
tricity Building is relieved by gray 
trimmings and green doorways which 



are elaborately enriched in their ornament 
by delicate shades of the prevailing tones 
used throughout the Exposition. The 
Agricultural Building is warmer, and 
there are blue, yellow, and ivory, and 
stronger notes of red and green in the 
entrances. The Restaurants are ivory 
and French gray. The sashes and doors 
are painted green, and the minarets and 
pinnacles are tipped with gold. The 
Propylaean which curves across the north 
end of the grounds has a wide open 
arcade, the panels of which are enriched 
with brilliant red where white statues 
are placed, while the panels above are a 
bright yellow. The ceilings are blue, 
and the trellis above is made a strong 
violet hue. Violet occurs again at the 
entrances from the Railway Station 
through the great Arch. The Railway 
Transportation Building is in a French 
gray with green roof and ivory and gold 
trimmings, while the Stadium, one of 
the most imposing buildings of the Ex- 
position, will be a light ivory-gray, with 
pale blue-green sashes and doors. The 
Tower, as I have said before, is a very 
light ivory, and is enriched in the capitols, 
brackets, finials, stars, pinnacles, etc., 
with gold and is crowned with a gilded 
figure of the Goddess of Light. The 
panels have the brightest fresh blue-green 
we could make, and is intended to sug- 
gest the water as it curves over the crest at 
Niagara. The statuary throughout the 
grounds will be treated in white, and it 
is my belief it will be a pleasant contrast 
and make the color more apparent. 
Lamps and urns are treated as green 
bronze, verte antique. Flag-stalFs are 
treated in a similar manner, except the 
greater ones, which are made to harmonize 
with the buildings in their immediate 
neighborhood, cool at the north end of 
the grounds in ivory and green, and 
warmer in red, yellow, and blue at the 
south. The great piers at the causeway 
are a soft, warm gray, suggesting Hme- 
stone or some kindred material. Pergolas 
are treated in bright colors, the lower 
third of the columns being orange or red, 
and the upper two- thirds a light stone 



21 



Art Hand-Book 



color with brown beams, blue ceiling, 
and green roofs. The notes of green, 
gold, ivory, blue, and red are distributed 
throughout all the buildings, so that it 
can be said, as someone remarked to me, 
**I see you are using the Pan-American 
Colors on the buildings, red, white, blue, 
green, and yellow." The buildings in 
the Midway are treated with more lib- 
erty, but in the same general tone of 
color as the main portion of the Expo- 
sition. The State Buildings and other 
concessions about the grounds have con- 
siderable latitude in treatment. The 
Woman's Building, which is a remodelled 
country club-house, has been treated in 
soft, quiet green. It is a frame building 
and is among the foliage. All the canal 
banks, bridges, and embankments have a 
soft gray stone color, with little or no en- 
richment other than the architectural 
design. Many flags and banners are to 



be distributed on the buildings of various 
colors suggestive of the countries taking 
part in the Exposition and adding gayety 
and liveliness to the scene. Awnings 
over the landings and peplos are treated 
to harmonize with the adjoining buildings. 

This is the first time to my knowledge 
that a general scheme of color has been 
undertaken and carried out in any expo- 
sition, and it is our sincere hope and 
belief that the result will warrant the 
time, labor, and expense expended upon 
it, and give great pleasure and possibly 
influence the art of our country in the 
future. 

The interior decorations, which are 
being carried on under the direction of 
Miss A. J. Thorpe, Assistant Director 
of Interior Decoration, will conform in 
general plan to the exterior coloring of 
the buildings, and relate as far as possible 
to the exhibits contained therein. 




.'•PErRGOLA 



^W 



22 



HE EXPOSITION 
ILLUMINATED 

By Henry Rustin 

Chief of Mechanical and Electrical Bureau 



[Beautiful as is the Exposition by day, the visitor has seen but half its beauty 
until he has seen it at night. By a novel apparatus the electric current is turned 
on by degrees. The Tower, the buildings, the long lines of lamp-pillars, seem to 
pulse w^ith a thrill of life before the eye becomes sensible to w^hat is taking place. 
Then a faint flush comes, like the flush which church spires catch from the dawn. 
This deepens for an instant to pink, then grows red, and mellows into luminous 
yellow, and as if by magic the exposition of beams and staff has vanished and has 
become the glorified spirit of the thing. It is the most marvelous effect of artificial 
light which the world has ever seen. Less than thirty years ago tourists gathered 
to see the illumination of the dome of St. Peter's at Rome, effected by men setting 
off Bengal lights in spiders. It was considered almost a miracle. Beside the 
Tower of white flame at the Exposition St. Peter's would have seemed dingy and 
almost in darkness. The article which follows on the lighting of the Exposition 
is by Henry Rustin, the man under whose direction these wonderful effects have 
been produced. — Editor.] 



The lighting of the Pan-American 
Exposition is considered to excel all 




<*^^^ FROM 

£j..^-a e<!ectrioty 



others in the quantity of lamps in oper- 
ation as well as in their arrangement 
for decorative purposes. When the ob- 
server stands on the Triumphal Cause- 
way and looks toward the Tower, it is 
not difficult to convince him that no 
artificially illuminated area ever before 
presented such a quantity of mellow, 
glowing points of light. The area of 
the Court of Fountains and the Espla- 
nades is equal in extent to the combined 



courts of former expositions all put to- 
gether. Hence the problem presented 
to provide light for traffic alone was 
a considerable one, even if lights for 
decorative purposes had not been re- 
quired. The lighting of these great 
areas is accomplished by placing clus- 
ters of lights on frequent ornamental 
staff supports, which were kept at as 
low a level as was consistent with the 
architectural conditions and scale, in 
order that the source of light might be 
as near as possible to the objects to be 
illuminated. These lights were placed 
along parallel lines, or in accordance 
with the arrangement of walks, and 
present a very gay appearance. They 
were intended to be arranged so as to 
distribute the light equally, and so 
carefully has this been worked out that 
one seeks in vain for a shadow. 

The decorative lights are arranged 
with reference to the complete general 
effect and not with regard to the in- 
dividual treatment of the buildings. 
The scheme adopted involved a gradual 
working up of the intensity of the 



23 



Art Hand-Book 



illumination from the southern part of 
the exposition grounds to the Elec- 
tric Tower, where a climax of elec- 
trical effects is reached. The Tower 
itself, when lighted, stands out as a most 
attractive object and indescribable in 
its appearance. The volume of light 
on this Tower, when seen at a distance, 
takes on an appearance which suggests 
to the mind phosphorescence as well 
as the semi-incandescence of the struc- 
ture itself. Observers at a distance of 
twenty miles or even more can easily 
pick out this object as a thing of beauty 
and almost awe. 

All through the arrangement of the 
plan of lighting, the twofold advantage 
of placing lamps in such a position 
that they would serve both for decora- 
tive purposes as well as for the practical 
use of lighting traffic was kept in 
mind. 

For the first time in the history of 
exposition lighting, the unit of light 
has been reduced to eight-candle-power 
lamps. This gives almost perfect dif- 
fusion. Heretofore methods were 
employed in illuminating large areas, 
which necessitated the use of arc-lamps, 
clusters of Welsbach, or large oil-burn- 
ing lamps. Such methods produced 
an unpleasant sensation, due to the 
concentration of light, which blinded 
the eye to such an extent that objects 
behind the source of light were not 
clearly defined, and the eye in attempt- 
ing to adjust itself to look at other 
objects was deceived. The eight-can- 
dle-power lamp does not blind or 
dazzle. 

A novel method has also been intro- 
duced on a large scale to produce a 
rather spectacular effect. This is ac- 
complished by passing the entire quan- 
tity of current used for lighting through 
a rheostat which can be manipulated 
so as to bring the lights from zero up 



to full candle-power, and from full 
candle-power down to zero. This 
effect, when applied to so vast a quan- 
tity of incandescent lamps, is almost 
startling and at the same time pleasing. 
The uniformity of the light, since'it is all 
of the same quality, gives an even tone 
of illumination to the eye throughout 
the Exposition grounds. 




TOWE-R5 OP- 
Si TRArwa'JN 

The extensive fountain display in 
the basins enlivens the setting by day 
and furnishes a certain attraction which 
appeals to each beholder. At night this 
water display becomes part of a most 
pleasing ensemble, which adds its effect 
to the lighting. No known agents are 
capable of a more pleasing blending 
than a studied combination of water 
and light. The niche in the Electric 
Tower has been selected as a stage for 
a display of water and light effects in a 
greater quantity of each than ever be- 
fore has been combined. The result 
is beyond a doubt the most impressive 
ever beheld. 



24 



FROM AN ART CRITIC'S 
POINT OF VIEW 

By Mrs. Schuyler Van Rensselaer 

Author of ** English Cathedrals," " Art Out of Doors," etc. 



In art, as in science, more may be 
learned from one good object-lesson 
than from the long preaching of theo- 
ries. Yet never, perhaps, has a single 
example of success taught so much to 
so many people as did the Chicago 
Fair of 1893. And one of the results 
of its teachings is the artistic success of 
the Pan-American exhibition. 

The White City showed a public 
which was greatly in need of such in- 
struction that artistic excellence depends 
first and most of all upon artistic har- 
mony. Nowhere else in the United 
States had the virtues of coherence and 
logic in a general plan and of concord 
in the buildings erected upon it been 
convincingly illustrated. A fine and 
comprehensive plan had, indeed, been 
devised for the national capital, but it 
had not been rightly carried out. In 
scarcely any part of any other American 
town had harmony of general effect 
even been thought of. Nor had it been 
considered when our first great exposi- 
tion was built; and, in consequence, 
those who visited Philadelphia in 1876 
carried home many memories of beau- 
tiful individual things, but were not 
impressed or interested by the aspect 
of the exhibition as a whole. 

At Chicago the case was very differ- 
ent. Here the most impressive, inter- 
esting, and beautiful exhibit was the 
Fair itself — the White City as a whole. 
And the reason was plain: the three 
elements that composed it, architecture 
and verdure and water, had been so 
combined that each enhanced the effect 
of the others; and in its main portions — 
in and near the Court of Honor — the 
labor of many architects and sculptors 
had been guided by certain general 



prescriptions. The result proved that 
a high degree of beauty may be pro- 
duced on a vast scale by many allied 
hands as well as upon a small scale by 
a single hand. It proved that in the 
one case as in the other, harmony must 
be the fundamental and the dominant 
aim. And it proved that harmony 
means, not monotony, uniformity, but 
variety in unity. No two buildings on 
the Court of Honor were alike ; but 
they were all placed in a right rela- 
tionship to each other and to the 
space they encircled, and they were all 
concordant in size, style, and color. 
Therefore a magnificent general effect 
was achieved, while the merits of each 
individual structure were accentuated 
and its faults were minimized. 

The lesson thus taught with trium- 
phant force and clearness was generally 
apprehended and appreciated. The 
people at large realized why the White 
City was so beautiful; and, moreover, 
when it showed them, for the first time, 
beauty created on a great scale by the 
hand of man, they recognized it as a 
thing worth caring about, worth get- 
ting. They may have forgotten by 
this time whether the Chicago Fair 
was a commercial success or not ; but 
they remember very well that it was a 
great work of art, and that, as such, it 
justified all the labor and all the money 
that it cost. 

The seeds of knowledge in regard to 
the character of beauty and in regard 
to the value of beauty that were thus 
widely scattered are bearing good fruit. 
Everywhere in our country more de- 
sire for architectural excellence is mani- 
fested than was shown ten years ago, 
and the right way to achieve it is better 



25 



Art Hand-Book 



understood. Even in our large perma- 
nent cities, where material conditions 
are very complicated and pressing, the 
signs of a new desire for architectural 
harmony are visible. Where there has 
been a chance to work more freely they 
are more apparent. Where real free- 
dom has been possible — as in the exhi- 
bitions held at Omaha, at Nashville, 
and at Atlanta — the example set at 
Chicago has been intelligently fol- 
lowed. And here at Buffalo in 1901 
another transient city proves, in a way 
that must make every American proud, 
what we now demand when oppor- 
tunity permits, and what our artists are 
able to give us. 

The Pan-American Exposition was 
conceived, of course, as an industrial 
enterprisCo It was not fathered by a 
body of artists, and it was not projected 
simply to please the eyes of the nation. 
But these facts double its interest from 
the artistic point of view. They prove 
that men of the most practical kind, en- 
gaged in the largest practical undertak- 
ings, now realize the value of art, and 
are convinced that the people as a whole 
do the same. The sensible, experienced 
business men who made themselves 
responsible for the material success of 
the Pan-American were certain that 
the best way to secure this was to make 
it an artistic success. They felt that 
an announcement that it would be a very 
beautiful place, a very beautiful thing to 
see, would ** advertise" it better than 
any explanation of its individual features, 
any cataloguing of the myriads of useful 
and prosaically instructive objects it 
would contain. Therefore they did not 
tell their architects to build convenient 
structures for the display of exhibits of 
certain kinds and quantities, and to make 
them attractive if they could. They 
demanded first of all a splendid summer 
city, and trusted to its designers to make 
it practically convenient also. 

No group of artists had ever before 
been asked to create such a city in so 
literal a sense of the term — with so 
little help from site and surroundings. 



In Paris there has always been a beau- 
tiful permanent city of which the transi- 
tory one has formed a part, and which 
has largely prescribed the course that 
builders of the latter should follow. At 
Philadelphia the site was an extensive 
park. At Chicago, indeed, the perma- 
nent city was so ugly that the one de- 
sire was to get the Fair away from it, 
and to the general eye no suburban site 
seemed inspiring or even artistically 
possible. But the eye of a great artist 
discovered a site which could be util- 
ized by a skilful manipulation of natural 
elements. 

When the Pan-American Exposition 
was conceived it was first proposed to 
build it upon the water-front and gain 
the advarLtages enjoyed by the White 
City, but the idea of setting it on the 
shore of Lake Erie proved impracticable. 
Suggestions that it should be built in the 
park were at once cried down, for, it 
was rightly felt, a great permanent work 
of art ought not to be injured for the 
sake of a transitory one. And then 
the only remaining site was a level plain 
with no suggestive variations of surface, 
no picturesque watercourses, and no 
verdure excepting a few rows of small 
trees. Here the artists of the Pan- 
American have built their city. They 
have not been aided at all by Nature ; 
and they have been helped by the an- 
tecedent work of other men only in so 
far that they were permitted to include 
the park lake within their boundary 
lines, but forbidden to injure or to alter 
its borders. 

I need not enlarge upon their suc- 
cess. The beauty of their multicolored 
city is as evident as its practical conve- 
nience. Even those who care to see 
nothing but the panorama it presents 
must feel that this is an adequate excuse 
for a very long journey. Nor can any 
one ignore the fact that it is so beautiful 
because it is so well ordered, so har- 
monious in general disposition and in 
the form, color, and ornamentation of 
its many factors — each feature and 
detail playing a due part in the scheme. 



26 



From an Art Critics Point of View 



each existing for the sake of the others 
as well as for its own sake, and each 
gaining in effectiveness and charm by this 
association. Many men have labored 
to produce the large and complex result; 
but they have labored fraternally, not 
independently. The general plan was 
confided to one artist, each of the 
buildings to another, the general color- 
scheme, the allotment of the works of 
sculpture, and the execution of these 
works to others again. But at every 
step there was consultation, mutual 
criticism, mutual deference ; and there- 
fore, although individuality is every- 
where apparent, the total result is a 
joint success, a triumph of cooperative 
energy, knowledge, and taste. 

Unhampered as well as unhelped by 
the character of their site, the builders 
of this Exposition have made it more 
compact than any of its predecessors. 
It contains no useless areas, no outlying 
portions to which long excursions must 
be made for the sake of a few objects of 
interest. Everything is held well to- 
gether, concentrated, worked into one 
great composition. Of course the 
Pan-American is not as large as an exhi- 
bition must be to which the whole world 
is invited. Nevertheless, great intelli- 
gence in the art of design was required 
to provide the many buildings needed 
for the exhibits proper, and the many 
accessory features of a great popular 
pleasure-ground, within an area which 
contains 350 acres as against the 1037 
of Chicago, and to do it without sacri- 
ficing spaciousness and dignity of gen- 
eral effect. The difficult task has, 
however, been accomplished. The 
first thing that strikes the visitor is not 
the compactness, but the spaciousness, 
the imposing size, of the Pan-American 
grounds. They measure something 
less than a mile in length and about 
half a mile in width. And they have 
not been divided into disconnected 
parts, nor, on the other hand, have they 
anywhere been opened out into a space 
so wide that its size cannot at once be 
appreciated. The great central court 



which runs from end to end of them — 
from the lake at their southern to the 
railway terminus at their northern ex- 
tremity — is an harmonious whole. Yet 
it constantly varies in width, in feature, 
in adornment, and in the disposition 
and design of the buildings that sur- 
round it. These buildings are well 
adapted to each other in size, outline, 
and detail; they are admirably appro- 
priate in scale to the open spaces about 
them ; and the Electric Tower effec- 
tively dominates them all, and makes a 
fine center for the Fair grounds as a 
whole without unduly asserting its pre- 
eminence. After the beauty of this 
great court has been appreciated it is 
well to study its ground-plan on paper. 
There could be no better lesson in the 
art of securing variety in unity. 

The same end has been kept in view 
in the coloring of the buildings. It 
was thought best not to try to rival the 
White City of 1893, but to attempt 
something more novel — to produce a 
polychromatic city. And the name 
and nature of the Pan-American sug- 
gested the type of architecture to be 
adopted — those late and ornate versions 
of the Renaissance style which had been 
widely employed in Spanish-American 
countries. The Electric Tower is 
the only one among the chief structures 
for which a simpler, more ** classic" 
kind of Renaissance has been chosen; 
and, fine though it is in itself, we may 
question whether the general effect of 
the long vista over which it thrones 
would not be still better if for it also a 
richer, more florid, more fanciful style 
had been selected. 

As for the color-scheme as a whole, 
it is not absolutely satisfying. It does 
not sin, as many people feared it would, 
in the direction of crudity, gaudiness. 
It errs in the opposite way. Under 
our strong blue summer sky, with our 
vivid sunshine, such colors as were used 
in ancient times around the Mediter- 
ranean, and are still employed there, 
might safely have been applied — 
stronger, clearer reds, pinks, yellows. 



27 



Art Hand-Book 



greens, and blues, laid on in more "tell- 
ing " masses; and pure white might 
have been used more largely as their 
background. But it should not be 
forgotten that this was our first experi- 
ment in polychromatic architecture, 
and that the scale upon which it was 
made rendered success doubly difficult. 
Nor should it be thought that the ex- 
periment has failed. In color, as in 
design, the Pan-American is a delightful 
thing to see. Only, if it had been 
painted with a bolder hand it might 
have been more brilliant, more reflec- 
tive, even more gay and festal-looking, 
than it is to-day. 

In regard to the effect it makes at 
night, the Pan-American need fear no 
comparisons, actual or fancied. 

At Chicago we realized for the first 
time what impressive, poetic, witching 
beauty may be created by the use of 
artificial light. In one sense it is not 
artistic beauty. In another sense it is; 
for it is created by the hand of man, 
although with one of Nature's agencies, 
and cannot fully reveal itself except 
upon an elaborate architectural back- 
ground. And it is the one kind of 
beauty that modern men have evolved 
without any help from tradition or 
precedent. It is the one kind of beauty 
that we possess and that the ancients, 
so greatly our superiors in the produc- 
tion of many other kinds, knew nothing 
whatever about. We shall never see a 
permanent city as splendid as the 
daytime Rome of the emperors — the 
conditions of modern life prevent ; 
and under the rays of the moon im- 
perial Rome must have seemed even 
more grandiose and wonderful than 
under the beams of the sun. But on 
dark nights it could not be seen at all. 
It had nothing with which to illumine 
itself excepting torches, oil-lamps, and 
upon great occasions, perhaps, a few 
tar-smeared, burning Christians. Such 
a spectacle as the great court of the 



Pan-American presents when its myriad 
stars and garlands of fire bloom out, 
its unequaled cascades and fountains 
shimmer with varied hues, its Electric 
Tower is an almost solid sheet of flame, 
and the gigantic rays of its search-lights 
stream in many directions — such a 
spectacle as this the old Greek or 
Roman could no more have imagined 
than the cave-dweller could have fore- 
seen the architectural marvels that 
crowned the Athenian Acropolis and 
stretched along the shores of the 
Tiber. 

Our people, it has sometimes been 
said of late, are acquiring *'the exhibi- 
tion habit." Even before the Pan- 
American was built, four or five other 
expositions had been projected in differ- 
ent parts of the country, and we seem 
to be approaching a time when we shall 
be invited every summer to visit some 
temporary city, planned to benefit its 
organizers in commercial ways, and, in 
order that this end may be attained, 
planned to be a beautiful popular plea- 
sure-ground. Is there any reason why 
we should not hope that this time may 
indeed arrive? Even in our largest 
permanent cities our chances to enjoy 
works of art, especially works of 
monumental art, are sadly few ; and in 
our rural districts opportunities for 
recreation that will stimulate as well as 
rest the mind are no more plentiful 
than chances to learn what the world 
is accomplishing along the paths of in- 
dustry and science. Instruction, recre- 
ation, and esthetic enjoyment — all 
these are offered by such a place as the 
Pan-American in great variety, of high 
quality, and at small cost to the indi- 
vidual visitor. If the cost to the organ- 
izer is not too heavy, if the permanent 
city which fathers the transitory one 
profits by its existence, we can hardly 
see it rebuilt too often on ever-changing 
sites throughout the length and breadth 
of our country. 



28 



CATALOG U E O F 
BUILDINGS 



[The descriptions of the chief buildings of the Pan-American Exposition have 
been written for the Art Hand-Book (except in a few instances) by the architects 
that designed them. It is felt by the Editor, therefore, that they may be pre- 
sented as accurate and official descriptions of the Exposition architecture.] 

PYLONS OF TRIUMPHAL 
CAUSEWAY 
By John M. Carrere 

Of Carrere and Hastings 

The architectural purpose of the Triumphal Causeway is to balance the 
Electric Tower and to establish an entrance-portal to the great courts of the 
Exposition proper. As a gateway from the natural landscape of the park into 
the formal scheme of the Exposition it was desirable that it should have both the 
elements of dignity and exposition gaiety. The four Pylons are monumental in 
size, being 40 by 50 feet, and in color suggest stone. From the water-level to 
the base of the equestrian figures it is 116 feet. The avenue between them is 
1 40 feet wide, the center line of which is the main axis of the Exposition, with 
the Electric Tower at one end and the statue of General Washington at the 
other. The sculpture which decorates the Pylons carries out the idea of national 
power and glory welcoming the world to the Exposition. The garlands of shields 
and the colored flags which festoon them lend an air of gaiety, and subtly sug- 
gest the idea of the draw-bridge leading from the natural outer park to the beauties 
in the creation of which man has been the chief factor. 

THE CURVED PERGOLAS 
By John M. Carrere 

Of Carrere and Hastings 

These structures curve from the Triumphal Causeway to the eastward and 
westward, tending to connect the Pylons with the Esplanades and to unify the 
architectural composition of the whole plan. They were designed to provide 
covered shelters for the visitors, and are an adaptation of the Pompeiian trellis, 
but on a larger scale and more elaborate. Double rows of columns make a wide 
nave and two side aisles with a pediment at either end. The side aisles are 
divided into bays, thus forming retired places for the visitors to sit and listen to the 
music on the Esplanades, and watch the gondolas on the water of the East and West 
lakes. Since being designed these buildings have been converted into open-air res- 
taurants. They are gay in color treatment and suggestive of the exposition spirit. 

THE ESPLANADE BAND STANDS 

By J. M. Lyall 

At the Architectural Bureau on the Exposition grounds a number of clever 
and able young designers were employed, some of them being ex-students of the 

29 



Art Hand-Book 



Ecole des Beaux Arts of Paris, and it was decided to give them some opportunity 
for individual expression in some of the minor constructions about the grounds, 
so that a system of competitions was instituted for designers for some of these 
things, among others, for the Esplanade band stands. The design executed was 
the work of Mr. J. M. Lyall of New York. It is thoroughly original in form 
and very expressive of its purpose, with its four great sounding-boards under 
the domed roofs and the gay and festive character of its flowery detail. Another 
of these competitions was for the bridge at the south end of the Venice Canal. 
This was the work of Mr. Frere Champney, also of New York. 

THE GOVERNMENT BUILDING 

From the United States Government Offices 
J. Knox Taylor, Superintendent 

This building more than any other on the grounds is Spanish-American in 
its architecture, directly suggesting the type of the Mexican church. It closely 
resembles the great Cathedral of the City of Mexico. The treatment of the 
columns in the portico shows the influence of the modern French spirit, and the 
quadriga on the dome, as well as the general form of the building, which is dis- 
tinctly that of an exposition building, prevents it from being a misapplied copy. 







The ground-plan is the same as that of the Horticultural Group of buildings oppo- 
site, both of which were agreed upon when the plan of the grounds was laid out. 
It consists of a large center building with dome and two flanking square pavilions 
connecting with each center building by semicircular arcades. The large center 
mass is made picturesque by numerous small towers and gilded domes and the 

30 



Catalogue of Buildings 



use of picturesque Mexican gables at the north and south ends. The stately- 
portico fronting on the Esplanade is not only impressive in its composition, but 
pleasantly suggestive of the United States Capitol at Washington, a suggestion 
vv^hich the public of America has come to look for in every building representing 
the national government. 

THE ETHNOLOGY BUILDING 

By George Cary 

The character of this building is classic in outline, w^ith Renaissance 
decorative treatment. It is situated at the eastern junction of the Grand 
Esplanade and the Court of Fountains. The building is circular in plan, w^ith 
the main entrances on the diagonal axis; between and connecting these is a 
continuous colonnade with a decorative frieze over the windows. The colon- 
nade is raised some seven feet above the level of the Grand Esplanade, giving 
a covered portico or loggia commanding a pleasing view. Surmounting this 
colonnade is a terrace, with balustrade decorated with Martiny's **Torch-Bearer." 

Over each entrance is a pediment containing McNeil's ethnological group, 
forming the decorative motive of the tympanum, and back of and above each 
pediment is Phimister Proctor's "Quadriga," made by him for the United 
States Government Building at the Paris Exposition of 1900. 

The building is covered 
by a dome like that of the 
Pantheon at Rome. The 
dome of the Ethnology 
Building is capped by a dec- 
orative cresting, the highest 
point being 150 feet. Hid- 
den by the cresting is the 
skylight opening which 
lights the interior. Sur- 
rounding the dome, in eight 
of the sixteen panels, are 
eagles measuring 16 feet 
over all, and below these 
are eight circular windows 
in the encircling shaft, light- 
ing the upper gallery. Sur- 
mounting each of these win- 
dows, and standing below the eagles, is Brewster's ethnological group, described 
elsewhere. The building covers about 20,000 square feet. There are two 
octagonal galleries, the first one being 25 feet above the floor, and the second 
one 2 1 feet above that. These galleries and the roof terrace are made accessible 
by staircases located at the side of each entrance. 

The eight decorated piers of the interior support eight arches, forming 
the octagon which, with the pendatives, carries the dome. The galleries en- 
circle the octagon, leaving an open space under the dome 80 feet in diam- 
eter and 1 20 feet in height. 

Inscriptions for the Ethnology Building. 
I. ** Knowledge begins in wonder." — Plato, Aristotle, Langley. 
II. '* Speak to the earth, and it shall teach thee." — Job xii. 8. 




• emnOLOGY 



31 



Art Hand-Book 



III. "Nothing that is human is alien to me.*' — Terence. 

IV. "And hath made of one blood all nations of men." — Acts xvii. 26. 

V. ** What a piece of work is a man!" — Shakspere, Hamlet, ii. 2. 

VI. "All are needed by each one." — Emerson, Each and All. 
VII. "The weakest among us has a gift." — Ruskin. 

VIII. "No SE GANO ' Zamora EN UNA HORA." — Cervantes, part ii. chap. Ixxi. 

IX. " O rich and various Man! thou palace of sight and sound, carrying in thy 

senses the morning and the night and the unfathomable galaxy; in thy 

brain, the geometry of the City of God ; in thy heart, the bower of love 

and the realms of right and wrong." — Emerson, The Method of Nature. 

THE TERRACES 
By John M. Carr^re 

of Carrere and Hastings 

These are four terraces running north and south on either side of the Court 
of Lilies and the Court of Cypresses. They were erected not only to form 
these retired courts and provide easy passageways from one building to another, 
but also to furnish elevated resting-places as points of vantage from which the 
public might view the illuminations and fountain effects. They were inspired by 
the famous architectural treatment of the lake at the Pare Monceau, Paris. The 
row of gaines, executed by Professor L. Amateis, which bear the trellis, is, 
however, a new feature. 

MANUFACTURES AND LIBERAL 

ARTS BUILDING 

By George F. Shepley 

Of Shepley, Rutan & Coolidge 

The Manufactures and Liberal Arts Building occupies a space 350 by 500 
feet, with a courtyard in the center 132 by 170 feet. A cloister extends around 
the interior of this courtyard, and it was intended to place in the center a foun- 
tain surrounded by statues and ornamental trees ; but after the building was 
completed it was found necessary to roof the courtyard over in order to provide 
more space for exhibits. 

The south or principal front of the building, which is 500 feet long, faces 
the Court of the Cypresses. In the center of this front is placed the principal 
feature of the building, which is a great dome rising to a height of 130 feet, 
surrounded by four towers. At the corners of the building are pavilions sur- 
mounted with smaller domes. 

The west fa9ade, toward the Court of the Fountains, is kept simple and low 
in order to give greater value to the Electric Tower at the end of the Court of 
Fountains, A little more prominence is given to the front on the Mall, where 
the entrance is under a pediment some 96 feet in height, which is surmounted 
by winged figures. The east front, which faces the Canal, is treated in a similar 
manner to the west front. 

The building is entered from the center of all four sides, and also from the 
pavilions on the corners. An arcaded loggia, with a groined ceiling, extends 
around the building on all sides and gives a convenient resting-place sheltered 
from the sun and rain. 

32 



Catalogue of Buildings 



The treatment of the exterior is a free treatment of Spanish Renaissance, 
the idea being to give, by means of color and decoration, an expression of 
gaiety and lightness as far removed as possible from the serious buildings of 
other exhibitions held in this country. The cornice is formed by the rafters 
of the roof projecting over, and is treated richly with color and carving. 

On the front of the building, betv^^een the arches, are placed the seals of 
the governments of the various South American republics. Over the main 
entrance is a group of statuary typifying the Arts and Manufactures. This 
group and the winged figures over the entrance on the Mall are by Mr. Bela 
Pratt of Boston. 

PERGOLA BUILDINGS 
By John M. Carrere 

Of Canere and Hastings 

In the four Pergola Buildings of the Exposition a unique treatment has been 
applied, making a structure of heavy character look light and arbor-like from the 
exterior. This effect has been secured by trellis verandas on the front and back. 
The Pergola Buildings are adapted to serve either as exhibit buildings or as 
restaurants. 

AGRICULTURAL BUILDING 
By George F. Shepley 

Of Shepley, Rutan & Coolidge 

The Agricultural Building is situated at the east of the Electric Tower, the 
narrow front, i 50 feet in length, facing the Court of Fountains, and the principal 
front, 500 feet in length, on the Mall. This building is treated with great 
simplicity and very few features. The principal entrance is toward the Mall, 
facing the Manufactures and Liberal Arts Building. Around this entrance is 
the greatest amount of enrichment. The decorations are designed with fruit, 
vegetables, and flowers, expressing the character of the building; and the large 
corbels are in the form of heads of animals of the field. This idea is carried 
around in the decorations of the cornice. There is a loggia on the south gide 




Art Hand-Book 



of the building, overlooking the Mall, formed of arches resting on single columns, 
with a ceiling of groined vaulting. 

The treatment of the exterior, like that of the Manufactures and Liberal 
Arts Building, designed by the same architect, is Spanish Renaissance, adapted 
to express a spirit of exposition gaiety. 

THE ELECTRIC TOWER 

By John Galen Howard 

Every artistic composition, whether it be a picture, a piece of sculpture, or 
a group of buildings, can be said to have a focus — some point or dominant 
feature which serves as a resting-place for the eye. The Electric Tower, by 
reason of its height and its central position, is such a focus in the midst of the 
main group of buildings of the Pan-American Exposition. 

Since this may be called the Age of Electricity, it was fitting that the focal 
point of the Exposition should be so designed as to afford an opportunity 
of accentuating that fact by a lavish display of electric power. This display is 
in the form of a majestic fountain and a scheme of brilliant illumination. The 
source of the power is Niagara, and this is suggested not alone by the fountain 
and the basin at the base of the tower, but by various groups of statuary in the 
wings, which have been designed to symbolize the great bodies of water which 
are tributary to the stupendous cataract. The following groups occupy the 
niches at the extreme ends of the curved wings, and are arranged from west to 
east in order : Lake Michigan, by Mr. Louis A. Gudebrod ; Lake Superior, by 
Mr. Philip Martiny ; Lake Ontario, by Mr. Ralph Goddard ; Lake St. Clair, by 
Mr. Henry Baerer ; Lake Huron, by Mr. Philip Martiny ; Lake Erie, by Mr. 
Carl E. TefFt. 

The spandrels of the niche in the south face of the tower and the 
smaller ones above the arch of entrance on the north side were modeled by 
Mr. Adolph A. Weinman, under the direction of Mr. Karl Bitter. They 
represent the four rivers Niagara, Buffalo, St. Lawrence, and St. Clair. The 
keystones of these arches were modeled by the same sculptor. 

Another feature of the sculptural embellishment of the tower which de- 
serves special note is the Pan-American escutcheon on the south front of the 
shaft of the tower, above the water niche. This was modeled by Mr. Philip 
Martiny and Mr. Michele Giusti. Mr. Martiny was also the sculptor of the 
torch-bearers crowning the four corners of the terminal pavilions, and of the 
groups typifying Progress which embellish the pyramidal pylons on the east, 
west, and north sides of the tower. The groups ornamenting the pylons on 
the south side adjoining the water niche were modeled by Mr. George Gray 
Barnard, and typify ** The Great Waters in the Time of the Indian" and 
"The Great Waters in the Time of the White Man." The frieze with 
children, garlands of fruit, and eagles, beneath the loggia at the top of the shaft, 
was executed by Mr. Karl Bitter. The Goddess of Light which crowns the 
tower is the design of Mr. Herbert Adams, and is i6 feet in height. 

The total height of the tower is 389 feet. The shaft of the tower is 77^4 
feet square at the base and is built with steel framework, the walls being of 
staff. The colonnades which form the curved wings at the sides of the tower ' 
have an extreme width of 255 feet. The promenades on these colonnades 
afford a fine view of the court and the other main buildings. If one ap- 
proaches the tower from the north, he may cross a bridge, enter, and take an 

34 



Catalogue of Buildings 



elevator to the lantern at a level of 252 feet, which commands a superb outlook 
of the Exposition and the surrounding country. Aside from its function as 
an observatory, the interior of the tower is made of service to the people by 
means of restaurants. 




Electric 

Tt)WER o 

HoVVARO 

As regards the architectural design of the Electric Tower, it may be called 
essentially American. As in the other buildings, use has here been made of 
classic and Renaissance forms, and certain "influences" may perhaps be 
pointed out by the critic ; but the tower cannot be said to have been designed in 
any strictly defined traditional ** style.*' It shows the trend of thought in this 
country, and may be taken as an example of modern American architecture. 



THE OLD SPANISH MISSION 

By George Gary 

This reproduction of an old Spanish mission is situated south of the Sta- 
dium and directly northeast of the northeastern turn of the environing Canal. 
It is built in the style of the old Spanish missions, the east wing being almost 
a reproduction of the Mission of Santa Barbara, California. A chapel, cloisters, 
courts, and a shop, arranged about a garden on the banks of the Canal, compose 
the group, the walls stained with age, and the tiled roof green with moss. 

35 



Art Hand-Book 



A low, heavy tower with tiled dome, the walls thick and low, with window- 
openings grilled with heavy wooden bars, suggest Father Salvierderra in 
«* Ramona" and the abode of the Franciscan monks of to-day. Fully in keeping 
is the lavishly planted garden, picturesque in its pointed cedars, its cocoanut- 
trees, palms, and plants imported from the tropics, while a fountain graces 
the center, about which are grouped marble columns supporting branching beams, 
on which are perched gay-plumaged parrots and macaws. 

Entering from the dike-walk on the Canal side, and passing through the arch 
under the tower, this garden is reached. Shut out at once from all the stir and 
whirl of the Exposition, surrounded by flowers and brilliantly colored birds, 
and the green of tropical trees, one is in some measure prepared for the quiet 
pictures within the building. 

To the west of the garden the shop is entered, with walls wainscoted with 
patterns in the style of old Cordova leathers, and hung with scenery papers 
suggesting a landscape of forests and distant mountains. 

The chapel, waijiscoted with marble and rich with columns of mosaic and 
marble, serves as a fitting frame for the beautiful windows of the Leland Stanford 
Junior University of California, which is built in the mission style of architecture. 
These windows were executed in an artist's studio in New York, and were 
to be placed this summer; but Mrs. Stanford has permitted their exhibition 
here before installing them in the university building. 

Looking through the archways south of the garden, a cloistered court is seen, 
about which implements of the farm are picturesquely arranged, suggesting the 
early monastic days when the brothers of the mission tilled the land, and 
worked in the shops among brilliant colors and artistic surroundings, with 
music and flowers and gardens to make their day's labor a pleasure, and their 
life one of peace and quiet and repose. And over all hangs the bell, whose 
story, so well told by Bessie Chandler, would seem to bring the legend home 
to us to-day. 

THE TWO BELLS 



Long years ago, so runs the ancient story. 

Two bells were sent from Spain to that far clime 

New found beyond the sea, that, to God's glory. 
And in his house, together they might chime. 

II 

And to this day one bell is safely swinging 

Within its shelt'ring tower, where, clear and free. 

It hallows each day with its mellow ringing. 
The other bell, the mate, was lost at sea. 

Ill 

And when in gentle chimes the bell is pealing. 

The people listen ; for they say they hear 
An echo from the distant ocean stealing : 

It is the lost one's answer, faint, yet clear. 

Bessie Chandler, 



36 



Catalogue of Buildings 



THE PLAZA 

By Walter Cook 

Of Babb, Cook & Willard 

The square to which the name of the Plaza has been given is a nearly- 
isolated unit of the general composition, being situated at its extreme north end, 
on a somewhat lower level than the parts immediately touching it. For this 
reason, and on account of the very intimate connection between the buildings 
and the square which they surround, the entire treatment of both buildings 
and grounds was put in the same hands — the one exception to the general 
rule which prevailed elsewhere. 

The Electrical Tower of Mr. Howard, which dominates, and was meant 
to dominate, the whole scheme, terminates the Plaza on the south side. The 

other buildings have purposely 
been kept somewhat smaller 
in scale and less monumental 
in character, in order to give 
to the tower its full value. 
And as the tower on the south 
side faces the Court of Foun- 
tains, in which water is the 
great feature, the Plaza itself 
has been treated without basins 
or fountains, in order to secure 
a contrast of treatment. 
The middle of the square is occupied by a Sunken Garden, surrounded by a 
double balustrade inclosing a terrace from which steps descend to the garden 
itself, the center of which is occupied by a band-stand. The four corners of 
the terrace are occupied by pavilions, which are intended to be let to concession- 
naires. The whole is intended to form a resting-place foF visitors out of the 
direct line of communication. 







PLAZA • 
BATiD STA«t> 
ETO. • o 



THE RESTAURANT BUILDINGS 

AND ARCADES 

By Walter Cook 

Of Babb, Cook & Willard 

On either side of the square are buildings closely resembling one an- 
other, and having a double use. The lower part of each is largely an 
open arcade, forming the entrance on the one side to the Midway, and 
on the other to the Stadium. The remainder of these buildings serve as 
restaurants. 

The style of architecture adopted in these buildings is freely reminis- 
cent of Spanish examples, and of their descendants in Spanish America, 
while no single building has been taken as a prototype. The character 
of the exhibition, in which only the Americas are represented, naturally sug- 
gested this inspiration, which is indeed evident in many other parts of the 
grounds. And it is this character which suggested calling the little square the 
Plaza. 



37 



Art Hand-Book 



THE STADIUM 

By Walter Cook 

Of Babb, Cook & WiUard 

In the mass of this amphitheater a great simplicity of style has been fol- 
lowed. The exterior is a series of columns with arches between ; the seats in 
the interior back up against this arcade, and are terminated by a sort of attic, 
forming a pro.nenade around the entire building, covered with gaily colored 
awnings and decorated with flags. 

On the east the Colonnade becomes an open screen, giving a view through 
it to the fields beyond, and with openings, each of which is provided with a 




q ATE- WAY 



PROPYLAEA** 



Also £jSTHAMCe -TO 
STAOlvr^A ♦» •• •» 



portcullis. When these are open they aiFord entrance to the various cavalcades 
or processions which are to give representations during the Exposition. 

On the west end is the main entrance, and above this the tribune, in which 
the seats are covered by a roof. This feature contains the festal part of the 
Stadium ; the forms are light, representing in part bronze (while those in the 
Stadium proper are stone forms), and here the greatest amount of color and 
decoration has been used, the general idea being to accent this motive and make 
it contrast by its gaiety with the comparative simplicity of the rest of the 
building. 

The dimensions of the Stadium are, length, about 680 feet, and width, 450 
feet. The arena has been laid out to obtain a quarter-mile running-track. 

38 



Catalogue of Buildings 



Its extreme dimensions are about 569 feet in length and 260 feet in width. 
The seating capacity is about i 2,000. It is intended to reproduce the spirit of 
the Pan-Athenaic Stadium cut in the side of Mount Pentelicus, near Athens. 



THE PROPYLiEA 

By Walter Cook 

Of Babb, Cook & WiUard 

The north side of the Plaza is occupied by a colonnade surmounted by a 
sort of pergola with green vines and flanked by two large archways giving 
access from the railroad station. This structure, to which the name of the 
Propyleea has been given, forms the northerly end of the whole architectural 
composition of the Exposition. It is treated in a very free style, as regards the 
two archways especially, and seeks above all to manifest the Exposition character 
and be a gay festival entrance to a great fair. 




TAt 0000 
PKOPYLAt-A * 
BY " cpon 

In the buildings themselves but little statuary has been used; on the other 
hand, both statues and vases are employed freely in the treatment of the 
balustrades, and under the colonnade of the Propylaea. 

The visitors to the Stadium pass under the arcade of the building on the 
east side of the Plaza, traverse a small open-air vestibule defined by balustrades, 
and enter the Stadium itself. 

39 



Art Hand-Book 



THE ELECTRICITY BUILDING 

By Green & Wicks 

In style and spirit the Electricity Building is similar to the Machinery 
Building, by the same architects. The endeavor has been made to adapt the 

Spanish mission style of 
building, together with Re- 
naissance features, to the 
purposes of the modern ex- 
position and to add to it an 
air of gaiety and color. 
The architectural features 
of the Electricity Building 
recur in the Machinery 
Building, and are set forth 
under that head. The 
Electricity Building is 500 

"s^ E-LECTRlC»rr ^^^^ }^ length, 150 feet 
?i^'=V. in width, and 160 feet in 

height. 




THE BAZAAR BUILDING 

By William Welles Bosworth 

Situated beyond the Canal at the junction of the Mall and the Midway, and 
fronting on the Midway, was the only large building outside the main scheme 
which was built by the Exposition Company. Destined for the exhibit and 
sale of all sorts of bijoux and souvenirs, the character of the design was studied 
to express a gaiety and **laisser aller " spirit consistent with the uses of the 
building. To express this spirit no style in the history of architecture is so 
well adapted as that of the French trellis-decorated buildings of the epoch of 
Louis XV, though it is dangerous when not used with restraint, being the expres- 
sion of a generation renowned for moral decadence. When used as in this 
instance, where it is merely applied as surface decoration to a building composed 
with strong structural masses of wall surfaces in their relation to openings and 
great simplicity of architectural line and silhouette, it has great charm. The 
groups of children surmounting the balustrade, as well as the decorative bronzed 
figures in the niches between the windows, are the work of the sculptor Isidore 
Konti. 



THE ACETYLENE BUILDING 

By William Welles Bosworth 

The Acety.ene Building, situated on the Mall at the west of the Machinery 
Building and across the Canal, was built by the Exposition Company for the 
exhibits of the acetylene industry. Just opposite from the Bazaar Building, it 
shows an interesting contrast in architectural style. The main structural ele- 
ments are equally simple and frank; ample openings for light give it the museum 
or exhibit-building character, while the seriousness of the nature of its exhibits 
is expressed by the reserve with which the ornament is applied in well-defined 

40 



Catalogue of Buildings 

architectural limits, and the particular nature of the exhibits is made evident to 
the careful observer in the symbolism of the ornaments themselves. The evo- 
lution of lighting methods is worked out in the ornaments around the windows, 
from the fire-brand below up through the candle and classic lamp to the acetylene 
burner at the top, while above the cornice are groups of children holding acety- 
lene torches which light the globe by M. Loester. 



THE MACHINERY BUILDING 

By Green & Wicks 

In considering a style of architecture for the Machinery Building the thought 
impressed itself of the fundamental idea of the Exposition — Pan-American: 
that is, a style expressive of "all the Americas." The logical thing to do, 
therefore, was to adopt the Spanish- American Renaissance, the typical style 
of architecture of this continent. It is a style that lends itself readily to ex- 
position buildings, for it is not too serious and can readily be made gay and 
expressive of the exposition spirit. The mission building is the product of 
that period in Mexico and Lower California when the Jesuits and Franciscan 
friars practically ruled the country. They built many of these low, com- 
fortable, arcaded, cloister-like structures. The early types, however, are too 
somber, though well suited, with their great covering-space, low roofs, and 
cool arcades, for exposition buildings. The style needs enlivenment, ornament, 
and color. These qualities have been taken from later and more pretentious 
Spanish buildings. The Machinery Building was built around a court intended 
to be the chief feature of the building, as it was in the old Spanish structures. 




/«\ACH1/1'T a..TRAn5'n- 



their peculiar charm being due to this quiet, retired court, with its flowers 
and pools of water. The court, however, in this case has been taken for exposi- 
tion purposes, owing to the demand for greater space by exhibitors. The fa9ade 
of the building presents an arcaded, cloister-like appearance, the oak-timbered 
overhanging eaves producing the shadow. In the center of each face are placed 
the important entrances. On the north and south fa9ade the entrances are 
flanked with towers, which form the most noticeable feature. The entrances 
between these towers are ornamented with single and double columns. They 
are flanked by arcades extending each way to the low corner pavilions. These 
are also used as entrances, and are ornamented in the manner of the Spanish 
Renaissance. The roofs are covered with the typical Spanish mission tile, 
and the window-openings with copies of the wrought-iron work peculiar to 
the Spanish style of building. The Machinery Building is 500 feet long by 
350 feet wide, and the highest towers are 170 feet in height. 

41 



Art Hand-Book 



THE TEMPLE OF MUSIC 

Designed by Esenwein & Johnson 

The south front of the Temple of Music faces on the East Esplanade, the 
east front upon the Main Court. It corresponds on the general plan to the 
Ethnology Building, which occupies the corresponding position on the east side 
of the Main Court, and the motif of its design is similar. The ground-plan of 
the building is square, being 150 feet on a side. It is surmounted by a dome 
180 feet high, suggestive in proportions of the dome of the Pantheon at Rome. In 
treatment the building is highly ornate. It is profusely decorated with pilasters 
sculptured in relief, and over each of the four pediments is a sculptured group by 
Konti. The auditorium of the building seats twenty-two hundred people, and 
contains one of the largest organs built in the United States. The building is 
ased for musical recitals and choruses. 

THE HORTICULTURAL GROUP 

Designed by R. S. Peabody 

of Peabody & Stearns 

The Horticultural Group, so called, including the Horticultural Building and 
the Graphic Arts and Mines pavilions, corresponds in plan to the Government 
Group, and was designed to balance with it on the west end of the Esplanade. 
Its type of architecture is more suggestive of the buildings of northern Italy than 
of Spanish America. The loggias of the Graphic Arts and Mines pavilions are 
reproductions of the Villa Madonna at Rome, one of the most graceful of the 
productions of the Italian Renaissance. The modeling of the vaulted ceilings of 
these loggias is remarkably fine for exposition work, and the color treatment here 
is especially successful. In general composition the main building is formed on 
the plan of a Greek cross, with four huge arches on the principal axes and small 
octagonal pavilions filling in the corners. Above the whole rises a cupola, sur- 
mounted by an airy lantern. The entrance from the Esplanade is framed under 
an ample pediment ornamented with rich decorations in relief, and, picked out 
in color like the majolica work of Italy, it forms a beautiful background to the 
Fountain of Nature. The extreme height of the building is 240 feet. 

THE NEW YORK STATE BUILDING 

By George Gary 

The New York State Building is situated on the north side of the west 
bay of the park lake, near the Elmwood Avenue entrance. Used as the New 
York State Building during the Exposition, it is to remain afterward a per- 
manent building for the Buifalo Historical Society. The building is of white 
Vermont marble, in the classic order of architecture known as the Greek Doric, 
being of the same order as the Parthenon at Athens, by Pericles. This would 
seem best to harmonize with the Albright Art Gallery on the opposite side of 
the water, designed in the spirit of the Erechtheum, which stands with the 
Parthenon on the Acropolis. 

The Greek Doric is suggestive of solidity and force, has little carving, and its 
lines are all curved slightly upward. As exhibited in the monuments of the age of 
Pericles at Athens, the Greek Doric combines with solidity and force the most sub- 
tle and delicate refinement of outlines and proportions that architecture has known. 

42 



Catalogue of Buildings 



The building is a rectangle about 130 x 80 feet, and 50 feet high. On the 
north front is located the statue "Aspiration," by Mrs. Harry Paine Whitney. 
The northern fa9ade is faced with three-quarter columns, and the entrance is 
through a vestibule, the bronze doors of which were the gift of the president of 
the Buffalo Historical Society, Mr. Andrew Langdon. The panels in these 
doors, representing "History" and "Ethnology," are the work of Perry. 
On the south, dividing the paths leading to the park, are Andersen's equestrian 
groups called "Progress," and between these two on the axis of the building is 
Andersen's bronze group termed ** Affinity." At the starting-point of the grand 
marble staircase leading up to the southern entrance stands Elwell's statue of 
** Intelligence," described elsewhere. 

The southern entrance is through a portico 61 x 17 feet, embellished by ten 
Doric columns, and commanding a view of the park lake, the electric fountains, 
and the park. 

The floor-level is taken 7 feet above ground to the north, while to the south 
the grade is kept at the ground-level of the basement, so as to get good light, 
and to enter the bicycle- 
room and other rooms 
of the basement direct. 
The height of the base- 
ment is 14 feet. Here 
is the dining-room, facing 
the park to the south, 
the bicycle-room, kitch- 
en, and janitor's quarters 
(entered from the hall 
and from outside), also 
boiler-rooms, etc., and 
l:he storage-room to the 
west, under the audience-hall. 




.^"^o^^ 



ME-W • YORrv. » STATf' ■ 

5ViLl»r^cs o 



The ground or first floor is 15 feet high. Here 
is the audience-hall, which seats 250 persons. 

The library occupies the eastern end of the building on this floor, and 
between the library and the audience-hall is the grand hall, stairway, and gal- 
lery. This grand hall, finished in black marble and gold, the largest room 
on this floor, may be given over to museum purposes, opening up into the upper 
floor to be used for larger relics. 

North of this grand hall is the lobby, giving access to the governor's room 
to the east, a committee-room to the west, to cloak-rooms and toilet-rooms, as 
well as an entrance to all the other rooms on this floor. 

The second floor runs up into the roof, making the rooms 18 feet high. 
It is lighted entirely by skylights, and will be used for museum purposes. 

The building is absolutely fire-proof. It is planned to accommodate not only 
the ultimate needs of the Historical Society, but also the immediate needs of the 
Exposition. It is provided with a heating and ventilating plant, and is lighted 
by a thousand electric lights. 



THE FIRE-PROOF ART BUILDING 

By Green & Wicks 

The Art Building is built of rough red brick, of attractive color, laid in a 
wide joint. Its central architectural feature is the Statuary Court in the 

43 



Art Hand- Book 




interior. The architectural details of the exterior are Spanish Renaissance, 
resembling those of the palace in Palma, on the island of Majorca. The cornice 
of the building is old brown oak. Surrounding the structure, at the level of 
the first floor, are niches containing antique statues. The Art Building is 
220 feet in length, 105 feet in width, and 34 feet in height. This structure 
was erected to provide temporarily for the exhibits of fine arts when an unfore- 
seen delay in securing the marble for the Albright Art Gallery made it impossible 
to complete that building in time for the Exposition. 

STATE, FOREIGN, AND AUXIL- 
IARY BUILDINGS 

The Forestry Building, designed by the Exposition Architectural Bureau. — 
The Forestry Building is situated northwest and adjacent to the Indian Mound, 

which is conspicuous in the southeastern 
^ 4 corner of the Exposition grounds. It 

was intended to house the forestry ex- 
hibit in the south pavilion of the Horti- 
cultural Group, now known as the Mines 
Building, but a change in this plan was 
necessitated, and a separate structure was 
erected. The Forestry Building is built 
of logs in the manner of the settlers' log cabins. It is 150 feet long by 100 feet 
wide, and presents an interesting contrast with the complex and highly developed 
examples of architecture in the Main Court. 

Ohio State Building, a low, gracefully proportioned building, with wide 
verandas, classic in treatment, designed by John Eisemann, Cleveland, Ohio. 

Illinois State Building, a combination of the classic and Italian Renais- 
sance styles, designed by J. M. White of Champaign, Illinois. 

Honduras Building, a pavilion, Spanish in style, with cupola treatment of 
roof. 

Cuban Building, Spanish Renaissance, with dome, designed by James Acker- 
man of BuiFalo. 

Chile Building, built of structural steel and closed in with glass, designed 
by C. I. Williams of Dayton, Ohio. 

PoRTO Rican Building, a small pavilion of staff, with beams and ornamental 
timbers disclosed. 

Pennsylvania State Building, an attractive structure, colonial in style, with 
cupola, designed by the State Superintendent of Grounds and Buildings, Harris- 
burg, Pennsylvania. 

New England States Building. This structure, representing the New Eng- 
land States combined, is a type of early New England colonial building, colored 
to give the effect of red brick and white marble. It was designed by Josephine 
W. Chapman of Boston, Massachusetts. 

Guatemalan Building, a square frame structure, classic in treatment. 

Santo Domingo Building, a small frame structure, painted in white and cream, 
designed by C. I. Williams of Dayton, Ohio. 

Michigan State Building, a handsome structure, pure colonial in style, 
designed by George H. Barbour of Detroit, Michigan. 

New Jersey State Building, a small structure, Spanish in treatment, designed 
by A. C. Jenkinson of Newark, New Jersey. 

44 



Catalogue of Buildings 

Ecuador Building, noticeable by its high gable and Queen Anne style of 
outline, designed by James & Leo of New York City. 

Minnesota State Building, Spanish Renaissance in treatment, designed by 
Dudley & Beardsley of Buffalo, New York. 

Wisconsin State Building, classic roof and Gothic treatment of windows and 
doorways, designed by A. C. Clas of Milwaukee, Wisconsin. 

Dakota State Building. The striking feature of this building is a castellated 
tower, the remainder of the structure being accorded a Spanish treatment. 

Mexican Building, an attractive building of Spanish architecture. 

Knights of the Maccabees Building, a small but pleasant structure, Spanish 
Renaissance in style. 

A. O. U. W. Building, Spanish in treatment, with second story open to 
serve as roof garden. 

Ordinance Buildings, Spanish in treatment, designed by the United States 
Government Architectural Bureau, J. Knox Taylor, Superintendent. 

Dairy Building, a reproduction of a Swiss chalet, designed by the Exposi- 
tion Architectural Bureau. 

Service Building, Spanish in style, designed by the Exposition Architectural 
Bureau. 

Larkin Soap Building. The main structure is classic in treatment, and is 
surmounted by a dome in the spirit of the Italian Renaissance, designed by Lan- 
sing & Beierl of Buffalo, New York. 




45 



INSCRIPTIONS FOR THE 
PAN = AMEMCAN 
EXPOSITION 

By RICHARD WATSON GILDER. 



INSCRIPTIONS FOR THE PROPYLAEA 

Panel I 
HERE, BY THE GREAT WATERS OF THE NORTH, ARE BROUGHT 
TOGETHER THE PEOPLES OF THE TWO AMERICAS, IN EXPOSITION 
OF THEIR RESOURCES, INDUSTRIES, PRODUCTS, INVENTIONS. ARTS 
AND IDEAS 

Panel II 
THAT THE CENTURY NOW BEGUN MAY UNITE IN THE BONDS OF 
PEACE, KNOWLEDGE, GOODWILL, FRIENDSHIP AND NOBLE EMULA- 
TION ALL THE DWELLERS ON THE CONTINENTS AND ISLANDS OF 
THE NEW WORLD 

>^ .^^ -^ . ^0' 

INSCRIPTIONS FOR THE STADIUM 

Panel I 
NOT IGNOBLE ARE THE DAYS OF PEACE, NOT WITHOUT COURAGE 
AND LAURELED VICTORIES 

Panel II 
HE WHO FAILS BRAVELY HAS NOT TRULY FAILED BUT IS HIMSELF 
ALSO A CONQUEROR 

Panel III 
WHO SHUNS THE DUST AND SWEAT OF THE CONTEST ON HIS 
BROW FALLS NOT THE COOL SHADE OF THE OLIVE 



INSCRIPTIONS FOR THE GREAT PYLONS OF 
THE TRIUMPHAL CAUSEWAY. 

(On the Pylons are statues of Courage, Liberty, Tolerance, 
Truth, Benevolence, Patriotism, Hospitality and Justice.) 

Panel I 
THE SPIRIT OF ADVENTURE IS THE MAKER OF COMMONWEALTHS 

Panel II 
FREEDOM IS BUT THE FIRST LESSON IN SELF-GOVERNMENT 

Panel III 
RELIGIOUS TOLERANCE A SAFEGUARD OF CIVIL LIBERTY 

Panel IV 
A FREE STATE EXISTS ONLY IN THE VIRTUE OF THE CITIZEN 

Panel V 

WHO GIVES WISELY BUILDS MANHOOD AND THE STATE— WHO GIVES 
HIMSELF GIVES BEST 

Panel VI 

TO LOVE ONE'S COUNTRY ABOVE ALL OTHERS IS NOT TO DESPISE 
ALL OTHERS 

Panel VII 
THE BROTHERHOOD OF MAN— THE FEDERATION OF NATIONS— 
THE PEACE OF THE WORLD 

Panel VIII 
BETWEEN NATION AND NATION, AS BETWEEN MAN AND MAN. 
LIVES THE ONE LAW OF RIGHT 

■^0' -^ .^ j^ 

DEDICATORY INSCRIPTIONS 

Agriculture Building 
Panel I 
TO THE ANCIENT RACES OF AMERICA, FOR WHOM THE NEW 
WORLD WAS THE OLD, THAT THEIR LOVE OF FREEDOM AND OF 
NATURE, THEIR HARDY COURAGE, THEIR MONUMENTS, ARTS, LEG- 
ENDS AND STRANGE SONGS MAY NOT PERISH FROM THE EARTH 



Panel II 
TO THE SCHOLARS AND LABORIOUS INVESTIGATORS WHO. IN THE 
OLD WORLD AND THE NEW. GUARD THE LAMP OF KNOWLEDGE 
AND, CENTURY BY CENTURY, INCREASE THE SAFETY OF LIFE, 
ENLIGHTEN THE MIND AND ENLARGE THE SPIRIT OF MAN 

Machinery and Transportation Building 

Panel I 

TO THE GREAT INVENTORS AND FARSEEING PROJECTORS, TO THE 
ENGINEERS, MANUFACTURERS, AGRICULTURISTS AND MERCHANTS 
WHO HAVE DEVELOPED THE RESOURCES OF THE NEW WORLD, 
AND MULTIPLIED THE HOMES OF FREEMEN 

Panel II 

TO THOSE WHO IN THE DEADLY MINE. ON STORMY SEAS, IN THE 
FIERCE BREATH OF THE FURNACE AND IN ALL PERILOUS PLACES 
WORKING CEASELESSLY BRING TO THEIR FELLOW MEN COMFORT. 
SUSTENANCE AND THE GBu\CE OF LIFE 

Manufactures and Liberal Arts Building 
Panel I 
TO THE EXPLORERS AND PIONEERS WHO BLAZED THE WEST- 
WARD PATH OF CIVILIZATION, TO THE SOLDIERS AND SAILORS 
WHO FOUGHT FOR FREEDOM AND FOR PEACE, AND TO THE 
CIVIC HEROES WHO SAVE A PRICELESS HERITAGE 

Panel II 

TO THE PROPHETS AND HEROES, TO THE MIGHTY POETS AND 
DIVINE ARTISTS, AND TO ALL THE LIGHTBEARERS OF THE ANCIENT 
WORLD WHO INSPIRED OUR FOREFATHERS AND SHALL LEAD AND 
ENLIGHTEN OUR CHILDREN'S CHILDREN 

Electricity Building 

Panel I 

TO THOSE PAINTERS, SCULPTORS AND ARCHITECTS, TELLERS OF 
TALES, POETS AND CREATORS OF MUSIC, TO THOSE ACTORS AND 
MUSICIANS WHO, IN THE NEW WORLD. HAVE CHERISHED AND 
INCREASED THE LOVE OF BEAUTY 

Panel II 

TO THE STATESMEN, PHILOSOPHERS, TEACHERS AND PREACHERS. 
AND TO ALL THOSE WHO. IN THE NEW WORLD, HAVE UPHELD 
THE IDEALS OF LIBERTY AND JUSTICE, AND HAVE BEEN FAITHFUL 
TO THE THINGS THAT ARE ETERNAL 




THE SCULPTURE PLAN 

By Karl Bitter, Director of Sculpture 



In considering the problem of a 
scheme of sculpture for the Pan- 
American Exposition, it seemed that 
a truly artistic decoration should first 
of all have a clear, distinct, and well- 
defined meaning ; that the ideas to be 
expressed and the subjects to be repre- 
sented should be selected with care and 
regard for their appropriateness even 
before questions as to the manner of 
rendering were considered. 

A study of the Exposition itself, of 
the various ideas which it aims to ex- 
press, of the varied character of its 
exhibits and buildings, supplies the 
natural basis for a scheme of sculp- 
ture. The exhibits are housed in 
buildings which serve not simply as 
shelters, but are in themselves examples 
of the conditions of our people and our 
times. They are intended to be of an 
educating influence, in a measure per- 
haps as great as the exhibits them- 
selves. Their artistic attributes may 
be considered as the phraseology of the 
sermon that is to be delivered, and the 
sculpture bears a similar relation. In 
order to make this sermon effective its 
scope and principal lines are questions 
of primary importance. 

Happily, in our case, the grouping 
of the buildings suggests those prin- 
cipal lines. We observe that to the 
left, on the Esplanade, buildings are 
situated containing, in a measure, the 



examples of our natural resources. We 
find there buildings devoted to forestry, 
mining, and horticulture. We show with 
pride the natural wealth of our conti- 
nent; we impress the visitor with the 
magnitude and abundance of the trees 
of our forests — their great varieties; we 
point to the unparalleled deposits of 
coal, iron, and other minerals. All 
these things Nature only can provide. 
This fact and the thoughts of pride 
and gratitude to Nature which it inspires 
should be crystallized in the things 
that clothe and cover our exhibits. The 
simple facts demonstrated inside of the 
buildings should find ideal and elevating 
expression not only in the architecture, 
but in the paintings and sculptures about 
the buildings. It is needless to elaborate 
on the field that opens before the eyes 
of the artist when we speak of the 
gratitude we owe to Nature, that has 
given us all those things which grow and 
form the fundamental conditions of life. 
The other side of the Esplanade, 
surrounded principally by Government 
Buildings, invites us to speak of our 
people and our institutions. We know 
that the natural wealth of our country 
means comfort and wealth to the peo- 
ple only if they are the kind which 
make a right use of it and if their 
institutions are such as to insure a lib- 
eral and peaceable enjoyment of such 
wealth. The institutions of our coun- 



49 



Art Hand-Book 



try form a worthy parallel to our re- 
sources. Again, the expressions of the 
artist in color and form must give in- 
spiration to the mind and assist the 
reason which has been appealed to by 
the contents of the buildings. Not a 
mere shell, beautiful and glittering but 
empty, is the work that the sculptor 
should give us here; not merely a scheme 
with here and there a spark of an idea: 
but, instead, a conception which, step 
by step and link by link, should lead the 
receptive mind to grasp one big idea and 
ignite a lire of true and lasting enthu- 
siasm. 

In distinct separation from the above 
two groups, we find another group of 
buildings devoted to Machinery and 
Transportation, Electricity, Manufac- 
ture, and the Liberal Arts. What is 
shown therein is neither a direct prod- 
uct of nature nor attributable to insti- 
tutions, but solely to the genius of man, 
though on the basis of what material 
nature has given him and what freedom 
and liberty the institutions of his coun- 
try allow him. Those buildings and 
the Court of Fountains, as well as the 
Mall, around which they are located, 
are therefore devoted to the allegoriza- 
tion of that idea. There is the wheel 
of progress, advancement, and civiUza- 
tion that is revolved and moved by the 
mighty brain and the sturdy arms of the 
nation. Our invention, industry, and 
ingenuity are here the motives for the 
painter and the sculptor. 

Next in order is the group of build- 
ings surrounding the Plaza. We find 
the gateways, on one side, to the Sta- 
dium; on the other, to the Midway. 
We have left the practical side of life 
and come to the more poetical, which 
shows us the temperament of the people, 
their games and sports and their varied 
amusements. Again the subjects for 
decorations suggest themselves. It is 
not necessary to point them out in de- 
tail, but I will repeat that all the deco- 
rations here should reflect in an ideal 
light and in elaborate and distinct form 
the characteristics of the people. 



In many respects the most prominent 
features at the Exhibition are the Elec- 
trical Tower and its Colonnade. The 
display of water about this tower sug- 
gests an interesting treatment of its 
sculptural eiFects. Buffalo's impor- 
tance, growth, and prosperity are chiefly 
due to the Great Lake System and the 
waterways on which it is located. Its 
commerce and wealth are the direct off"- 
spring of the ** Great Waters," as the 
Indians called them. They connect 
this city with the many other cities 
that dot the shores of those inland seas. 
This leads us to an ailegorization of the 
'* Great Waters," expressed already in 
the display of cascades and fountains, but 
now assisted by figures and groups, in 
which reference is made to the gigantic 
role which the lakes, the rivers, the Erie 
Canal, and the eleven railroads play in 
inland commerce. 

On approaching the Exposition, the 
main causeway, as perhaps the most or- 
nate feature, was given over to an apo- 
theosis of the United States, an aile- 
gorization of national pride. 

In the main it has been possible to 
carry out this proposition. Being gov- 
erned by the groups which the buildings 
formed, I classified the sculptors' work 
in three great groups: The court formed 
by the left wing of the Esplanade, and 
surrounded by Forestry, Mining, etc., 
buildings, I devoted to the subject of 
"Nature." The opposite right wing, 
surrounded by the Government Build- 
ings I devoted to ** Man " and his in- 
stitutions. The main court, called 
** Court of Fountains," flanked by 
Machinery, Electricity, Transporta- 
tion, and other buildings, formed the 
third group, the ** Genius of Man" 
and his development in the fields of 
art, science, and industry. 

While the arrangement, as said be- 
fore, was left to the Director of Sculp- 
ture, the numbers of groups and statues 
and fountains, their location, relative 
size, and proportions, formed part of 
the architects' plans. Those plans 
provided for a number of pedestals. 



50 



The Sculpture Plan 



basins, and other features, which were 
to be decorated by the sculpture. 

Beginning with the east wing of the 
Esplanade, for which I selected the sub- 
ject of ** Nature," I found that it con- 
tained a large basin, forming in its 
outlines a cross. At the head a large 
fountain was provided, the cross-bar 
emphasized by two subordinate foun- 
tains, while pedestals for six large 
groups, three on either side, marked 
the corners of the basin. These were 
the main features which the architect 
desired to be decorated, and which 
were shown on his plans, in their size 
and proportions. To the large fountain 
at the head I gave the name ** Fountain 
of Nature," and George T. Brewster 
was commissioned to execute it. In 
carrying out his work he introduced 
allegorizations of the Sun, and the Stars 
below her; the Globe, on which fig- 
ures are placed representing the four 
elements; further below. River and 
Brook, Mountain and Dale, etc. For 
the two subordinate fountains, which 
were to be composed of fewer figures, I 
selected "Kronos" and "Ceres," to 
indicate the eternity of Nature on one 
side, the fruit-spreading goddess on the 
other to personify its yearly revival. 
F. E. Elwell, the sculptor, represented 
**Kronos" as a winged figure, — the 
swiftness of time, — and placed him on 
a turtle — the slowness of time. ** Ce- 
res" he has shown with outstretched 
arms, holding symbols dating back to 
heathen times, and speaking of the 
birth that Nature gives to all that ex- 
ists. 

The subjects for the six groups which 
were to be placed on the pedestals men- 
tioned before, I arranged in three series: 
the first two, and nearest to the Foun- 
tain of Nature, to express *' Min- 
eral Wealth," executed by Charles H. 
Nichaus; the following two, *' Floral 
Wealth," by Bela L. Pratt; the re- 
maining two, "Animal Wealth," by 
E.C.Potter. In " Mineral Wealth " 
we find the Nymph of Opportunity 
calling Man to unearth the hidden 



treasures; in "Floral Wealth" the 
bloom and withering of the floral crea- 
tions ; in "Animal Wealth" the wild 
beast on one side and the domesticated 
on the other. 

The same architectural disposition of 
the pedestals and bases for fountains and 
groups just mentioned we find in the 
other wing of the Esplanade, which is 
formed, as stated before, by the Govern- 
ment Buildings. Corresponding with 
the Fountain of Nature in the cen- 
ter of the semicircle, and right in front 
of the imposing dome of the Govern- 
ment Building, which balances the 
dome of the Horticulture Building 
on the other side of the Esplanade, is 
the principal feature of this beautiful 
court. It is the Fountain of Man, 
by Charles Grafly of Philadelphia. It 
is surrounded by two figures, joined into 
one and veiled. The two sides of man's 
nature are thus indicated, and by the 
veil the mystery of his soul. Below, 
the Five Senses join hands in a circle and 
support Man. The waters in this foun- 
tain fall into an elevated basin which is 
supported by groups of crouching fig- 
ures representing characteristics of hu- 
manity, as love and hatred, courage and 
cowardice, etc. 

As I selected mythological subjects 
at either side of the Fountain of Na- 
ture, I have chosen for the corre- 
sponding positions on either side of 
the Fountain of Man subjects also 
mythological in character, the Fountain 
of Hercules, and the Fountain of 
Prometheus, which Hinton R. Perry 
has executed. 1 Furthermore, to corre- 
spond with "Mineral," "Floral," and 
** Animal Wealth," I have chosen for 
the six important pedestals on this side 
the subjects, the "Savage Age," the 
"Age of Despotism," and the "Age 
of Enlightenment." 

John J. Boyle shows in the groups 
of the "Savage Age" on the one side 
the Rape of the Sabines ; on the other 
side the subject is entirely modern, 

1 Mr. Perry's sculpture has been damaged. 



51 



Art Hand-Book 



representing the war-dance of an un- 
civilized tribe. 

The *'Age of Despotism'* was 
treated by two different artists, and in 
two entirely different ways. One group, 
by Isidore Konti, has the Chariot of 
State drawn by four men representing 
the mass of the people, the peasant, 
the artisan, etc. On the chariot is 
seated the Despot, whose governing 
power is being represented by a Fury, 
scourge in hand, forcing the people in 
the yoke to draw the heavy burden; in 
the rear of the chariot are chained Justice 
and Truth. Different again is H. A. 
McNeil's conception of **Despotism." 
He shows the despotism of conscience 
that will give no rest to the guilty; he 
sh6ws the despotism of a fanatical idea 
that may possess alike the aged and the 
innocent child. 

The two groups representing the 
** Age of Enlightenment," by Herbert 
Adams, show the blessings, in a mod- 
ern sense, of religion, education, and the 
family. 

Again, arriving at the axis of the Es- 
planade, we have to the left *' Nature," 
to the right **Man" and his institu- 
tions, and before us the large open 
Court of Fountains. We find this 
court surrounded by a group of build- 
ings devoted to machinery, electricity, 
transportation, manufacture, and lib- 
eral arts, and we find at its head the 
principal feature of the Exposition, the 
colossal Electric Tower. 

I said before that I have selected as the 
subject for this court the ** Genius of 
Man." Again, this court contains a 
basin, but larger than those of the Es- 
planade, and grander in its fountain ef- 
fects. Piling up against the semicircular 
wall which forms the upper end of the 
basin in front of the Electric Tower is 
sculpture of heroic size and composed 
of many figures — sea-horses and other 
creatures. The central composition 
will bear the title, the "Genius of 
Man." On either side we will have 
two subordinate groups, the one 
*' Human Emotions" and the other 



''Human Intellect." Paul W. Bart- 
lett has executed this important work. 
Since this basin again recalls in the 
ground-plan the basins of the Esplanade 
and is also provided with two wings such 
as have been devoted to mythological 
subjects, I have again put the main 
subject in a frame of mythology. The 
** Birth of Venus" will be placed on 
the side of ** Human Emotions," the 
"Birth of Athena" on the side of 
"Human Intellect." We also find 
in this court the pedestals which mark 
the architectural design and emphasize 
the corners of the basin. To bring 
the ideas expressed in these fountains 
to a culminating point, a group repre- 
senting "Art" will decorate the 
pedestal nearest to "Human Emo- 
tions" and the "Birth of Venus," 
while "Science" will occupy a cor- 
responding position with regard to 
"Human Intellect" and the "Birth 
of Athena." The two groups are 
executed by Charles Lopez, and the 
two fountains by Mr. and Mrs. 
Michael Tonetti. 

The pedestals on the other end of 
the Court of Fountains will sup- 
port two groups by A. Phimister 
Proctor, "Agriculture" and "Manu- 
facture" being the subjects. 

Marking the center of the Exposi- 
tion grounds, where the Esplanade and 
the Court of Fountains join, the archi- 
tect has provided a circular basin, to be 
embellished by a fountain. For this 
I chose the subject of "Abundance" 
— the Exposition is to show what 
abundance prevails in the domains of 
Nature and in man's resources. Philip 
Martiny is the sculptor of this fountain. 

Back of the Electric Tower and 
surrounded by the entrance to "Vanity 
Fair" on the one side, to the Stadium 
on the other, and by the Propylsea on 
the third side, we have a large open 
square called the Plaza. While be- 
fore we have been confronted with 
things appealing to our intellect and to 
the practical side of life, we may see 
here and study the temperament of the 



52 



The Sculpture Plan 



people, their sports and games and 
their varied amusements. To carry 
out this idea, famous works of art have 
been used of which replicas could be 
procured, such as antique figures and 
works of the later Renaissance period. 
The Achilles Borghese, and other ath- 
letic subjects familiar to us all, will be 
seen flanking the Stadium entrance. 
Nymphs, fauns, and bacchantes orna- 
ment the pedestals near' the entrance 
to the Midway. Groups of children, 
copies of those at Versailles, are dis- 
tributed among the flower-beds and the 
paths surrounding the Music Pavilion, 
which is located in the center of the 
Plaza, and around which it is expected 
that music-loving people will gather. 

It now remains to speak of the 
Triumphal Causeway, which forms the 
great introduction into the architec- 
tural charms of the Exposition. Here 
the host welcomes the visitor — the 
United States greets the nations of this 
hemisphere. The adornments of the 
Causeway are an apotheosis of national 
pride and quality. Four ** Mounted 
Standard-Bearers" 1 will crown the 
pylons, expressing peace and power. 
Below them will be heaped** Trophies," 
modeled by Augustus Lukeman, and 
embodying the same subjects in differ- 
ent form. In addition, the pylons 
have eight niches which contain statues 
expressive of ** Courage," ** Patriot- 
ism," ** Truth," "Benevolence," 
and other characteristics of our people. 
Large semicircular bays extend on 
either side from this bridge into the 
canal, and these bays support the co- 
lossal flagpoles, the bases of which are 
richly ornamented by figures and sea- 
horses, the one having as its subject 
the ** Atlantic," the other the ** Pa- 
cific," by Philip Martiny. At some 
distance in front of the Causeway the 
two guard-houses are situated, which 
are surmounted by two colossal groups 
of "Fighting Eagles," by Maximilian 
Schwarzott. 

1 The Mounted Standard-Bearers are the work 
of Mr. Bitter. 



In placing the sculpture on the 
buildings the same system has been 
followed as with the sculpture of the 
fountains and grounds. The Tem- 
ple of Music is adorned by groups 
representing Sacred, Lyric, Heroic, 
and Gay Music by Isidore Konti. 
The Electric Tower is crowned by 
the ** Goddess of Light," by Herbert 
Adams, while around the water display 
which is so prominent a feature of this 
structure we have the ** Six Lakes," and 
groups with further subjects suggestive 
of water, by George Gray Barnard. 
The Ethnology Building has a pedi- 
ment showing the study of the races, 
by H. A. MacNeil. 

Thus far I have made no mention 
of anything but the subjects that were 
to be expressed by the sculptor. Cer- 
tainly whether sculpture is successful 
does not depend entirely upon the 
selection of subjects, but for obvious 
reasons the manner in which the sub- 
jects are treated, the arrangement and 
composition of the figures, has been left 
absolutely to the individual sculptors. 
No doubt a strictly uniform result is 
not obtained in such a way. As much 
as character and the training and educa- 
tion differ, so much will conception and 
execution vary. Still I believe the 
result is, nevertheless, interesting and 
pleasing. While one artist is gifted 
by nature with an imagination full of 
ideas and resources, in some cases sup- 
ported by considerable knowledge of 
history, mythology, and literature, the 
other has a fine sense for the real, a 
keen observation of Nature and the life 
that immediately surrounds him. 

Whatever will be the verdict of time 
upon the result, the sculpture at this 
Exposition will demonstrate, perhaps 
more clearly than has yet been demon- 
strated, the condition and standing, the 
ideals and direction, of contemporary 
sculpture in America. 

In addition to the principal courts 
and buildings, there are the bridges 
leading over the canal, the sunken 
gardens in the Mall, and various other 



53 



Art Hand-Book 



features of the Exposition which offer 
excellent opportunity for sculptural 
decoration. For this purpose I pur- 
chased from the museums of the Tro- 
cadero, the Louvre, and the Ecole des 
Beaux Arts at Paris, a number of plaster 
casts of vases, gaines, figures, and 
groups. The originals of a majority 
of them may be known to those who 
have visited the gardens of Versailles. 
While it would scarcely be proper for 
me to praise the work which our 
modern school has given to the Expo- 
sition, I feel free to say that these 
nymphs and satyrs and river-gods 
on bridge piers and among flowers 
and green are delightful to the eye ; 
and although they symbolize the rivers 
of France, and depict ideas of by-gone 
days and of a foreign land, they are 
nevertheless of a great educational 
value. Though these pieces have a 
place in the history of art, many 
among us are not acquainted with that 
particular period. Others, having 
seen them in museums only, have not 
been impressed by the charm of this 
period of art, which demands surround- 
ings of a kind which will be found in 
the flowers and fountains, the stairways 
and balustrades, of our Exposition. 

Of course, to these objects of art 
my original scheme does not apply, 
and to carry out my scheme even in 
its limited form would have been im- 
possible, had we proceeded in the 
usual manner and by such methods as 
have been pursued, for instance, at the 
Chicago Exposition. An exposition 
studio was therefore established at 
Weehawken, across the Hudson from 
New York, and there the small models 
of the sculptors were enlarged by the 
most improved appliances. Special 



credit is due to the invention of a 
young American sculptor, Mr. Robert 
T. Payne, whose pointing-machine 
proved a great success. It was for 
the first time that this new device of 
making an enlarged copy of the artist's 
small original model was experimented 
with, and the result was greater pre- 
cision and faithfulness in the reproduc- 
tion, and a considerable saving in the 
cost of purely mechanical labor. 

On the other hand, this great com- 
mon studio, in which during the period 
of five months over five hundred figures 
were produced and sent to Buffalo in 
fifty large railroad cars, was a school 
of training for so many young American 
sculptors, who found there an oppor- 
tunity for study on large and ambitious 
objects which art schools cannot 
ordinarily afford. I am certain that 
the visitors to this studio will remem- 
ber the busy scene. The interest 
which the young men took in their 
work was apparent and will speak for 
itself in the result they accomplished 
in an astonishingly short space of time. 
Many of them saw little rest during 
those five months, and particularly their 
superintendent, Gustave Gerlach, who 
set them such an example of disinter- 
ested devotion to purpose as only a 
true artist can. 

Apart from the gigantic proportions 
of the undertaking, the names of those 
who were engaged therein make it 
important and representative of con- 
temporary American art, and though 
disciples of many beliefs in art had to 
meet on the same grounds and often 
compromise, harmony prevailed from 
beginning to end. May success crown 
their efforts and reward them for their 
indulgence ! 




54 



CATALOGUE of SCULPTURE 

(The following plan of the Exposition is divided into ten sections) 

Enlargements of each of these sections, with the sculpture numbered thereon, will be 
found with the text to which they have reference. 




CATALOGUE of SCULPTURE 

(The numbers and description of the sculpture begin with the statue of Gen- 
eral Washington at the entrance to the Main Approach to the Triumphal Cause- 
way. The plan adopted assumes that the visitor proceeds north through the 
Pylons, and turning to the right (east) makes the circuit of the Exposition, 
eventually reaching the New York State Building in the southwest corner of 
the grounds. The course is then due east to the Art Building, which is in the 
extreme southeast corner of the rectangle occupied by the Exposition buildings 
north of the Park lake. As set forth in Mr. Karl Bitter's article on the Sculpture 
Scheme, not only the individual sculptures are symbolic but symbolism also pervades 
the entire plan of arrangement. This should be kept clearly in mind if the visitor 
wishes to understand and appreciate it. ) 

1. General Washington, equestrian statue by Danicx Chester French of 
New York. Washington is represented standing in his stirrups, his sword Hfted 
high in air, his left hand holding the reins and his three-cornered hat. This 
statue stands in the Place d'Jena, Paris, It was unveiled July 3, 1900, and 
is shown here for the first time in America. 

MAIN APPROACH 

2. Eagles, surmounting the four corner columns. 

3. Victories, from the Dewey Arch, New York, by Herbert Adams of New 
York. These pieces also flank the gateway at the Lincoln Parkway entrance. 

FORE COURT 

4. Resting Buffalos, by Frederic G. Roth of Buffalo. The buffalo groups 
are called by the sculptor, "Idyls of the Prairie." One shows the bull in a 
characteristic pose chewing the cud, expressive of rest and comfort, while the 
cow, in sympathy with her companion, rubs her neck on his mighty shoulders. 
The other group is similar in idea. 

5. Fighting Eagles, by Maximilian Schwarzott of New York. Two 

groups of fighting eagles surmount the 
guard-houses on the approach to the 
Fore Court. Mr. Schwarzott depicts 
two eagles in battle over the carcass oi 
a deer. The group on the east (to 
the right as one enters upon the Tri- 
umphal Causeway) represents the battle 
at its height. The group on the west 
shows the victor stretching his wings 
over his dying foe. The birds which 
served as models for these groups were 

captured on the sculptor's place in the Catskills. 

EAST AND WEST CANAL BRIDGES 

6. Buffalo, by Henry Merwin Shrady of New York. This figure and its 

companion piece, the *•' Moose," ornament 
several of the bridges over the Grand Canal. 
The ''Buffalo" represents the last of a great 
race, the former monarch of the American 
prairie, now almost extinct. Mr. Shrady is 
under thirty years of age and graduated from 
Columbia College in 1894. His first piece 



<5enWARZ0TT 

<- SCVLPT^ 





> i-J V 



of sculpture was **The Charge of the Light Battery." 

56 



Catalogue of Sculptur 



7. Moose, by Henry Merwin Shrady of New York. This is the companion 
piece to the ** Buffalo," No. 6. The *< Moose " is represented in the act of 
"whistling," this animal's call to the cows and its challenge to other bulls. 

Accessory Sculpture — Vase Cratere. See Vases and Caryatides. 

BETWEEN OHIO AND ILLINOIS STATE BUILDINGS 

8. Bellona, by Philip Martiny of New York. Bellona in Roman 
mythology was the Goddess of War and was regarded sometimes as the wife 
and sometimes as the sister of Mars. She sits on a throne and wears helmet 
and breastplate. She is usually represented by the ancient sculptors as armed 
with spear and shield. 

TRIUMPHAL CAUSEWAY SOUTH PYLONS 

(The sculpture on the Triumphal Causeway is symbolic of the national attri- 
butes of the United States and is intended also to represent the idea of national 
welcome to all the visiting nations.) 




57 



Art Hand-Book 



9. Trophies of Power, by Augustus Lukeman of New York. On the ped- 
estal in front of the East Pylon of the Causeway the figure of a youth in the 
attitude of sovereignty is seated between a lion and a cowering slave. Behind 
and above him are banners, shields, and the helmet and cuirass of a warrior, the 
trophies of power. 

10. Trophies of Peace, by Augustus Lukeman of New York. On the 
pedestal before the West Pylon sits a female figure, emblematic of peace. On one 
side is a calf and on the other a child with its arm across the back of a ram. 

1 1 . Figures Holding Shield of United States, by Karl Bitter of New York. 
Over the Trophies of Power and of Peace two female figures, emblematic of 
North and South America, hold the shield of the United States. 

1 2. The Departure for War, bas-relief panel by Oscar Lenz of New York. 
A band of Greek warriors arc setting off for battle. Victory urges them on, 
and a venerable priest blesses them as they set out. This panel is used on each 
of the four Pylons. 

13 and 14. Peace and Power, colossal equestrian figures by Karl Bitter of 

New York. Each of the four Pylons of the Tri- 
umphal Causeway is surmounted by a youth on the 
back of a horse thirty feet in height which rears 
above a mass of trophies symbolic of feudalism, 
slavery, and subordination to tyrannical power, the 
whole expressing the triumphant struggle of the 
people of the United States to free themselves from 
the institutions of despotic ages and governments. 
Peace, with a lyre in one hand and a banner in 
the other, is emblematic of the peace which is the 
fruit of such a victory. Power, with a shield 
and standard is emblematic of the*power which 
such a struggle engenders. The horses in these 
groups are the largest ever executed. They are 
thirty-three feet high. The height of the group to 
the top of the standards is forty-six feet. 

15. Civic Virtue, by H. K. Bush-Brown of 
New York. A female figure is leading a child, the 
two typifying the virtue of Maturity and the virtue of Childhood, the virtue of 
Wisdom and the virtue of Innocence. The woman holds aloft a mirror, that 
all the world may see the reflection of Truth. Beside her is an altar on which 
burns the eternal flame of Truth. Mr. Bush-Brown was the author of a colossal 
group at the World's Fair called the ''Indian Buffalo Hunt.'* 

16. Courage, by Jonathan S. Hartley of New York. An armored warrior 
stands upon the body of a slain lion, in an attitude of defiance. 

17. Benevolence, by Albert Jaegers of New York. Jove as the father and 
well-wisher of men is represented with his eagle on his right hand, emblematic 
of power. In his left he holds the hand of the child that is sitting at his feet, 
typifying his gentleness and benevolence. 

18. Patriotism, by Gustave Gerlich of Hoboken, N. J. A male figure 
stands in a posture of resolute defiance and grasps the banner of his native land. 

THE EAST AND WEST FLAG POLES 

19. The Atlantic and Pacific Oceans (East and West Flag Poles), by 
Philip Martiny of New York. On the right (east) a graceful female figure 

58 




Catalogue of Sculpture 



holds a conventionalized rudder in one hand and with the other pours from an 
urn, emblematic of the Pacific. On the other side of the group is the figure of 
a hoary sea god with a trident. Spirited sea horses surround the two figures. 
The boy and swan used in the spill-ways of the Fountain of Abundance (No. 
58) are placed on the north and south sides of each flag pole. On the left 
(west) the group is reversed, the sea god facing the avenue. 

TRIUMPHAL CAUSEWAY NORTH PYLONS 

20. Justice, by C. F. Hamann of New York. A heroic female figure stands 
with a naked sword in one hand and scales in the other, emblematic of Justice. 

21. Tolerance, by Herman N. Matzen of New York. A draped female 
figure stands with a cross in her hand, emblematic of the charity and tolerance of 
the Christian rehgion, 

22. Liberty, by John Gellert of New York. A draped female figure stands 
with arms uplifted holding her mantle above her head. The emblems of Liberty 
surround her. 

23. Brotherhood, by George Edwin Bissell of Mt. Vernon, N. Y. A 
female figure, symbolic of Hospitality, stands with arms extended in welcome to 
the millions of the Old World and the people of the South American Republics. 
The hawser at her feet reaches out to incoming vessels. She is surrounded by 
the products of American countries and the emblems of their governments. 

CORNERS OF LAKE BALUSTRADES 

24. Lions, enlarged from Italian model of Renaissance period. 

PERGOLA SCULPTURES 

Terms with male and female heads at entrances — Vase Amphitrite. See Vases 
and Caryatides. 

ISLAND IN EAST LAKE 

25. Not placed. 

EAST ESPLANADE FOUNTAIN 

(The theme of the sculpture in front of the U. S. Government Buildings is 
symbolic of Man and the development of his institutions as opposed to the cor- 
responding glorification of Nature in the opposite esplanade in front of the Hor- 
ticultural Building.) 

AN*S Age of Enlightenment 
(No. 26, South group), by Her- 
bert Adams of New York. This 
group symbolizes the intellectual 
character of an enHghtened age. 
A female figure representing 
Learning sits with an open scroll 
on her knee and instructs a boy 
and girl. On one side is a figure 
with a lyre,representing the Arts. 
A palette and the masks of Com- 
edy and Tragedy are at her feet. In her left hand she holds a laurel wreath. On 
the other side is Science with one hand resting on a globe and the other on a book. 
27. The Age of Enlightenment (North group), by Herbert Adams of New 
York. This group represents the security and happiness of the family relation in 
an age of enlightenment. A laurel-crowned figure, symbolic of Peace and Social 
Order, holds a baby in her lap while the young mother bends over it from one 

59 




Art Hand-Book 



side and the father from the other. On the steps of the pedestal sits a female 
figure, symbolic of the Church, and a male figure, symbolic of Law. 




BY ... I " K"rtT» • 



The Despotic Age (South group), by Isidore Konti of New York. A 

despot is forcing his subjefts to pull the 
Chariot of State. The four figures pull- 
ing represent the different ages of man, 
childhood, youth, maturity and old age, 
and show that there is no consideration 
for any under the rule of the tyrant. 
They also represent the diverse charac- 
ters of man : Youth protesting against 
Slavery, typifying the intelligence of the 
liberty-seeking class ; Old Age more sub- 
missive. Cruelty, the companion spirit 
of Tyranny, is shown in a figure holding 
the reins with one hand, and with the other applying the lash, thus intensifying 

60 




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ATALOGU E 



of S 



CULPTURE 



the humiliation of the oppressed. The female figures, gagged and bound by the 
tyrant and dragged behind the chariot, symbolize the ideals of humanity. 

29. The Despotic Age (North group), by H. A. McNeil of New York. 
The spirit of despotism with relentless cruelty spreads her wings over the people 
of the Despotic Age, crushing them with the burden of war and conquest and 
dragging along the victims of rapine. A half-savage figure sounds a spiral horn 
in a spirit of wild exultation. 

30. Child Playing with Fishes and Blowing on a Shell, by Paul W. Bart- 
lett of New York (two groups). An adaptation of his treatment of the same sub- 
ject in the Court of Fountains. It was intended to erect on the south side the 
Fountain of Hercules, typifying man's physical strength, and in the corresponding 
position on the north side of the Court, the Fountain of Prometheus, typifying 
man's intellectual power. Mr. Roland Hinton Perry executed these groups, but 
they were so badly damaged by a regrettable accident that it was impossible to 
put them in place. 

31. The Savage Age (South group), by John J. Boyle of Philadelphia. A 
group of aboriginal warriors armed with rude weapons and surrounding a female 
captive are depicted in an attitude of attack. A savage woman with a head- 
dress of feathers is beating a drum while a child lies dead behind her. 

32. The Savage Age (North group), by John J. Boyle of Philadelphia. A 
band of Goths are bearing away the captive woman whose protectors they have 
slain, symbolizing the lawless and brutal customs of the Savage Age. 

33. Fountain of Man (main fountain), by Charles Grafly of Philadelphia. 
The theme of the sculp- 
ture on the East Espla- 
nade in front of the 
United States Govern- 
ment Building is the 
progress of man, his 
institutions and his 
development from the 
savage state up to the 
Age of Enlightenment. 
The central feature, the 

Fountain of Man, is composed of a number of groups sur- 
mounted by the single figure "Man the Mysterious," por- 
trayed with two faces and two bodies, emblematic of the two natures of man. It 




VIRTVE? 




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V 




is partly veiled, creating the im- 
pression of mysterious dignity. 
The pedestal upon which the 
figure stands is borne by a strik- 
ing group typifying the Five 
Senses. Below this is a large 
lower basin, and outlined against 
its cavernous shadows may be 
discerned through the dripping 
waters the writhing forms of 
the virtues struggling with the 
vices. The whole rises to a 
height of fifty-three feet. 

Accessory Sculpture — Vase 
des Tuileries (a) used on corners 



Art Hand-Book 




of fountain basin ; Vase des Tuileries (b) used on sides of basin ; Turtle in 

basin by Charles Grafly. 

HALF CIRCLE OF SHRINES 

34. Vulcan, a modern sculpture. 
Author unknown (?). In Roman mythol- 
ogy Vulcan was the god of fire and metal 
working, and the patron of all artificers. 
He was the divine workman and artist 
of the gods. Vulcan was usually repre- 
sented by the ancients as lame. The myths 
attribute this to his fall from heaven on 

the occasion when he stumbled while filling Jupiter* s cup, and was thrown 

from Olympus by that irritated deity. 

35. Venus Genetrix, a reproduction of the antique Roman copy in the 
Louvre, Paris, of a celebrated Greek type by Alcamenes. The figure of the 
Goddess is clad in a light Ionian tunic. The raised right arm lifts her himation 
from behind toward her head, forming the Greek gesture symbolic of marriage. 
The left hand extends the apple, also emblematic of marriage. 

36. Narcissus, an enlarged reproduction of the original Greek statuette 
found at Pompeii, now in the Museo Nazionale at Naples. In Greek mythology 
Narcissus was a beautiful young man who was insensible to the charms of 
love and beauty until he saw his own reflection in a pool. Unable to gratify 
his passion he pined away and was changed into the flower which bears his name. 
Echo, the nymph who vainly loved him, died of grief. 

37. Venus Coming from Bath, a reproduction of Perraud's famous statue in 
the Louvre. ' A graceful and undraped female figure is represented as iust com- 
ing from the waters of a pool. 

38. Antinous, a reproduction of the original Roman sculpture in the Vatican, 
Rome. Antinous was a page and favorite of the Roman Emperor Hadrian. He 
drowned himself in the Nile, as tradition has it, from melancholy. 

39. Venus with Phial, a reproduction of a modern sculpture, author 
unknown (?). A graceful figure stands holding a Greek phSl, 



SCULPTURE ON U. S. GOVERNMENT BUILDINGS 

40. Peace, by Maximilian Schwarzott of New York. A draped female fig- 
ure holding a palm. This is used as niche figure on the pavilions. 

41. Law, by William Ordway Partridge of New York. A draped female 
figure holds an open book above her head. At her feet sit armed male figures, 
symbolic of the power which executes the law's mandates. This is used twice 
on fa9ade of main building. 

42. Fountains (two on main fa9ade), by William Cowper of New York. 
A female figure with a trident, symbolic of rule, and a cornucopia, symbolic of 
abundance, stands upon a conch shell. At her feet a mermaid sits upon a dol- 
phin and a merman blows a horn. 

43. Quadriga (surmounting blue dome), by F. Wellington Rukstuhl of New 
York. A chariot driver stands in his chariot holding in one hand a branch of 
palm and in the other a wreath of laurel. Quadriga means ** Four horsed chariot.'* 

Accessory Sculpture — Medallions on frieze across fa9ade of Indian and white 
man ; Vase Borghese. See Vases and Caryatides. 

62 



Catalogue of Sculpture 



COURT BETWEEN GOVERNMENT AND ETHNOLOGY BUILDINGS 

44. The Three Graces, an enlarged reproduction of the original group by 
the French sculptor Pilon. Three female figures. Faith, Hope and Charity, 
stand back to back upon a triangular pedestal and support a vase upon their 
heads. 

Accessory Sculpture — Caryatides Hercule and Bacchante from Versailles. 
See Vases and Caryatides. 

SCULPTURE ON ETHNOLOGY BUILDING 

45. Quadriga, by A. Phimister Proctor of New York. This group sur- 
mounts each of the four pediments of the Ethnology Building. Four spirited 
horses draw a Roman Chariot in which stands a symbolic female figure. Torch 
bearers attend on either side. The group was designed for, and placed upon, 
the United States Government Building at Paris Exposition of 1900. 

46. Tympanum, in relief, by H. A. McNeil of New York. A reproduction of 
the Sculptures in the tympanum of the United States Government Building at 
the Paris Exposition of 1900. In each of the pediments is a female figure with 
a vase, and a male figure gazing at a skull, symbolic of man's history. 

47. History, by George T. Brewster of New York. Between the pedi- 
ments is a group in which a sphinx is the central figure. On one side a male 
figure with a skull is studying Man's past; on the other side a youth looks up 
at the sphinx, seeking the secret of yet unwritten history. 

Accessory Sculpture — Torch bearers on the balustrade, by Philip Martiny of 
New York. 

COURT OF CYPRESSES 

48. Water Nymph and Child, a reproduction of the group at Versailles by 
Magnier. A reclining nymph holds a cluster of corals and sea fruits in her 
hand. By her side a child with a stick is playing with a lizard. 

49. Water Nymph and Child, a reproduction of the group at Versailles by 
Magnier. The subject of this group is the same as of the preceding one though 
it differs in treatment. The reclining nymph holds in her right hand a scroll on 
which a chart is drawn. Her left rests on a child who is riding a dolphin 
and blowing on a shell. 

50. La Dordogne, a reproduction of the original group at Versailles by 
Coyzevoix, symbolic of the river Dordogne (see No. 51). A river god reclines 
on an urn which lies upon its side. In his right hand he grasps a rudder and 
between his legs stands a cupid with a cornucopia. 

51. La Garonne, a reproduction of the original group at Versailles by the 
famous French sculptor Coyzevoix, symbolic of the river Garonne, At Ver- 
sailles is a series of sculptures representative of all the rivers of France. A river 
goddess reclines on two urns which lie upon their sides, pouring forth water, 
emblematic of the two sources of the Garonne. A cupid is at her feet with a 
cornucopia overflowing with fruits and flowers. 

Accessory Sculpture — Vase Louis XIV and Vase Borghese. See Vases and 
Caryatides. 

COLONNADE EAST OF COURT OF CYPRESSES 

52. Not placed. 

53. Minerva (on Terrace), a reproduction of a recently discovered antique 
bronze. She is represented with helmet but without a spear. In Roman myth- 
ology Minerva was the daughter of Jupiter. She was Goddess of Wisdom and 
of the Liberal Arts. She was also the Goddess of War. She is usually repre- 

63 



Art Hand-Book 



sented with flowing draperies, armed with shield, spear and helmet and wear- 
ing the Aegis on her breast. She never married but was the Virgin Goddess. 
She was the same deity as the Greek Athene. 

Accessory Sculpture — Caryatides Hercule and Bacchante; Vase Amphitrite; 
Caryatides by Amateis on trellis. See Vases and Caryatides. 

CANAL BRIDGE NORTH OF U. S. GOVERNMENT BUILDING 

54. Child on Dragon (used on the four piers), a reproduction of a French 
piece of the period of Louis XV. A boy is riding a winged sea dragon and 
guiding it with a rope which passes through its mouth. 

COLONNADE WEST OF COURT OF CYPRESSES 

55. Nathan Hale, by Frederic MacMonnies. The bronze of this statue is 
in City Hall Park, New York. 

56. Jupiter (on Terrace), an enlarged reproduction of a Greek bronze. 
In Roman mythology Jupiter was the chief of the gods and the embodiment 
of the power and sovereignty of the Romans. His weapon was the lightning. 

Accessory Sculpture — Caryatides Hercule and Bacchante ; Vase Amphitrite ; 
Caryatides by Amateis on trellis. See Vases and Caryatides. 

COURT OF FOUNTAINS 

(The development of man's genius and his adaptation of nature's gifts is the 

theme of the symboHc sculpture in 
this court. At the south end, 
between the East and West Espla- 
nades devoted respectively to Man 
and to Nature, is the Fountain of 
Abundance. At the north end is the 
main fountain. The Genius of 
Man.) 

57a and b. Groups of Chil- 
dren, reproductions from the original 
groups on the Terraces at Versailles. 
There are four groups in all. Two 
are used here : tf, on the east, in 
which the central figure is a child on 
a swan;^, on the west, in which 
the central figure is a child blowing 
on a shell. In group c one of the 
children carries a dove. In group 
d one of the children carries a wreath 
and torch. 

58. Fountain of Abundance. 
Sculpture by Philip Martiny of New 
York. On a tall pedestal at the 
south end of the Court of Fountains 
stands the light and graceful figure 
of the Goddess of Abundance. She 
holds a garland of flowers above her 
head and at her feet a circle of cupids 
are tossing flowers, emblematic of pro- 
fusion. In each of the four spill-ways 
of the fountain stands the Love 




COURT 
•rf ^OUriTAINS 




64 



Catalogue of Sculpture 




i^S* 




^.^.M.WJ' 



Riding on a Snail by Miss Janet Scudder (see No. 59) and a boy mounted on a 
swan by Mr. Martiny. Dolphins and mythological sea monsters are used to 
complete the composition. The main basin 
of the fountain is 100 feet in diameter. 

59. Love Riding on Snail, by Miss 
Janet Scudder of Terre Haute, Indiana. 
This group is placed in each of the four 
spill-ways leading down from the centre of 

the Fountain 

of Abundance. 

Love with a dart 

in one hand is 

astride a gigantic 

snail. The group 

is noticeable for 

style and finish. 

Miss Scudder is a 

pupil of Frederic 

Mac Monnies, 

and exhibited a 

bas relief called 

the '*D'ancing 

Girl'* at the Paris 

Exposition of 
1900, which attracted favorable comment. 
She has also executed several remarkable portrait reliefs. 

60 and 61. Pumas, by A. Phimister Proctor of New York. The groups 
Agriculture and Manufacture were originally placed here, but were too large 
and were removed to the garden south of the stadium. See Nos. 91a and 92b. 

62. Vulcan (east side of basin), same as No. 34. 

63. Venus Coming from Bath (west side of basin), same as No. 37. 

64. Sir Harry Vane (east side of basin), by Frederic MacMonnies of New 
York. The bronze of this statue is in the public library at Boston, Mass. 

65. Michael Angelo (west side of basin), 
by Paul W. Bartlett of New York. The bronze 
of this statue is in the Congressional Library at 
Washington. 

66. Orpheus (east side of basin), by Bela 
L. Pratt of Boston. A graceful, seated fig- 
ure with a lyre. Orpheus, according to the 
Greek mythology, was the greatest of musicians. 
His playing on the lyre gained him permission 
to descend to Hades to bring back his wife 
Eurydice from the dead. 

67. Bacchante (west side of basin), by 
Frederic MacMonnies of New York. The 
bronze of this statue was made for the Boston 
Public Library, and is now in the Metropolitan 

A graceful undraped figure holds a child on one arm and 
a bunch of grapes over its head. In Greek mythology the women who took 
part in the wild rites and processions of Bacchms, the god of wine, were called 

65 




Y 

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Q 
A 
R 

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r 



Museum, New York, 



Art Hand-Book 



Bacchantes. They are usually represented in sculpture with heads thrown back, 
hair disordered and playing cymbals or carrying thyrsus staffs. 

68. Art (east pedestal), by Charles A. Lopez of New York. A female 
figure symbolic of Art is surrounded by accessory figures representing Poetry, 
Music, Painting and the Drama. 

69. Science (west pedestal), by Charles A. Lopez of New York. A female 
figure. Science, holds a ball, emblematic of power and knowledge. At her left is 
a youth with a book. A woman with a child holds a cup of medicine, emblem- 
atic of the relief to human suffering which Science affords. A man on his 
knees studies a skull. Beside him are a mortar and pestle. 

70. Groups of Children, by Isadore Konti of New York. There are four 
different groups used repeatedly and resembling one another in spirit and treat- 
ment. In one a winged cupid and a little girl are springing away from a lizard. 
In the second an angry swan is pursuing a boy who has one of her cygnets. In 
the third a winged boy is drawing back from a snail. In the fourth a winged 
boy is playing with a turtle with his toe. 

71. Birth of Venus (fountain east side of basin), by Mr. and Mrs. Michael 
Tonetti. The undraped figure of Venus is seated in a shell, having just risen 
from the sea. The infant God of Love is at her side. A merman and mer- 
maid attend her and three tritons herald her appearance, blowing on shells. The 
group is symbolic of the part which love plays in the life of modern man. 

72. Birth of Athene (fountain west side of basin), by Mr. and Mrs. 
Michael Tonetti. The goddess is represented seated with her spear in her left 
hand around which twines a serpent, emblematic in Greek mythology of scien- 
tific wisdom. A child, symbolical of Modern Science, is at her knee with 
electricity in its hands. On her left she is guarded by Hercules, emblematic of 
brute force. On her right is a female figure, emblematic of Life. Tritons on 
either side and in front announce the birth of the goddess. For attributes of 
Athene (Minerva) see No. 53. 

73. Human Emotions (north end of basin, east of middle group), by Paul 
W. Bartlett of Boston. A woman caresses the head of a poor faun, illustrating 
Sympathy, and at the same time is indifferent to the sufferings of the man who 
writhes at her feet in a hopeless passion. 

74. Human Intellect (north end of basin, west of middle group), by Paul 
W. Bartlett. A winged female figure is seated gazing off into the distance 
while Love, symbolized by a cupid, weeps unnoticed on her knee. At her feet, 
on her right, is seated Poetry with a lyre. On her left is Science with a skull. 

75. The Genius of Man (main fountain), by Paul W. Bartlett of Boston. 
A male figure, emblematic of Man, stands on the car of Progress driving the sea 
horses which draw it. Behind him is the winged Genius of Man inspiring his 
progress. Before him is a torch bearer. Truth, guiding the path. On either 
side are groups symbolic of human achievement. That on the right, in which 
there is a male figure with a scythe, is emblematic of Agriculture ; that on the 
left, in which there is a male figure with a cog wheel, is emblematic of Manufac- 
ture. In each of the auxiliary groups the central figure is a woman announcing 
man's achievement with a herald's horn. 

76. Sea Horses (two groups accessory to the main fountain No. 75 and placed 
in front of it), by Paul W. Bartlett. 

66 



Catalogue of Sculptur 



E 



Accessory Sculpture — Vase Borghese, Vase des Tuileries b. Vase Louis XIV, 
ornamenting balustrades and stairways. See Vases and Caryatides. 

EAST MALL 

77. Fleuve (the river), by Daniel Chester French of New York. An im- 
pressive male figure is seated emptying a water jar, symbolizing the river source. 

78. Mercury Seated, a reproduction of Pigalli's statue. The god is seated 
and about to bind on his winged sandals. He wears his winged cap. Mercury 
in Roman mythology corresponds with the Greek Hermes. 

Accessory Sculpture — Vase supported by Terms used at the east and west 

entrances to Mall; at north and south entrances. Resting Buffalo groups (No. 

4) ; in bed of Mall, Caryatides Hercule and Bacchante. See Vases and Cary- 
atides. 

BRIDGE EAST OF EAST MALL 

Nymphs and River Gods Nos. 48, 49, 50, 51. 

ramp. east of bridge 

79. Chien Molosse, reproduction of an antique sculpture of a dog in the 
Vatican at Rome. 



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BRIDGE EAST OF MANUFACTURES BUILDING 

Nymphs and River Gods Nos. 48, 49, 50, 51* 

BETWEEN EAST PERGOLA BUILDINGS 

80. Stallion and Groom, by Frederick Roth of New 
York. A powerful percheron stallion is being led out by 
a groom. 

PEDIMENT OF AGRICULTURE BUILDING 

80a. The Sower (south side of pediment). 
Sob. The Reaper (north side of pediment). 

67 



Art Hand-Bo ok 







Accessory Sculpture — A decorative 
group of children, emblematic of the 
fruitful character of Agriculture, is 
between the two main figures. 

TOWER BASIN 

(The theme of the sculpture here and 
on the Tower is man's relation to the 
waters of the Great Lakes, and his mas- 
tery and use of them and of the cataract 
of Niagara which turns the wheels of 
the Exposition.) 

La Garonne (No. 51), on southeast corner of the basin balustrade; La Dor- 
dogne (No. 50), on southwest corner. 

EAST COLONNADE OF TOWER 

81. Lake Superior (in east niche), by Charles E. TafFt of New York. A 

vigorous male figure, undraped, 
bends over a dolphin which he 
appears to control by a rein held in 
his left hand. Under his right arm 
he holds an upturned water jar, 
symbolic of Lake Superior as the 
head waters of the chain of great 
lakes. A line of fishes follow one 
another over his left shoulder as if 
leaping to join the dolphin at his 
feet. 

82. Lake Michigan (in south 
niche), by Philip Martiny of New 
York. A graceful female figure sits 
upon the prow of a conventionalized 
boat. She holds in her left hand 
the steering oar, emblematic of com- 
mand. Her draperies sweep out 
behind as if borne on a fresh wind. 

83. Lake St. Clair (in west 
niche), by Henry Baerer of New 
York. A lightly draped female 
In her left hand she holds a slender 




TOW£R' 
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est 




figure sits upon a seat of rocks and rushes, 
staff; with her right she empties a jar of water, emblematic of Lake St. Clair pour- 
ing the waters of the upper lakes into the lower. 

84. Torch Bearers, by Philip Martiny of New York. On the four corners 
of the pavilionettes which terminate the colonnades on the east and west of the 
Electric Tower stand four draped female figures. Each holds a torch aloft in 
her left hand, and in her right an object symbolic of electricity : one, a horse- 
shoe magnet; another, a coil of wire. 

WEST WING OF TOWER 

85. Lake Erie (in east niche), by Ralph Goddard of New York. A seated 
female figure holds an Indian paddle in her left hand. Her right rests on a shell. 
Her head is crowned with the crescent moon, and a quiver full of arrows is on 
her back. 

68 



Catalogue of Sculpture 



86. Lake Ontario (in south niche), by Philip Martiny of New York. 

draped female fig- 
ure sits on a throne, 

with a trident that 

leans upon her left 

shoulder. In her 

right hand she holds 

a fish, emblematic of 

her rule over the 

denizens of the lakes. 
87. Lake Huron 

(in west niche), by 

Louis A. Godebrod 

of New York. An 
Indian with blanket across his shoulders and 
headdress of feathers is holding a spear in the 
attitude of a fish spearer. 

On the four corners of the pavilionette are torch bearers (No. 84). 




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SOUTH SIDE OF ELECTRIC TOWER 

88. The Great Waters in the Time of the Indian (west group), by George 
Gray Barnard of New York. An Indian Medicine Man stands upright in the 
bow of bark canoe making incantation to the Spirit of the Great Waters. In his 
right hand he holds a sheaf of arrows, in his left the skin of a wolf. Beside the 
canoe stand accessory figures representing the spirits of the great waters. 

89. The Great Waters in the Time of the White Man (east group), by 
George Gray Barnard of New York. A youth, emblematic of the mastery which 
modern civilization has obtained over the Great Lakes, stands upon a convention- 
alized modern stea:mboat. His hands are held above his head ; in the right is a 
hammer, in the left a sculptured figure which embraces the globe with its wings, 
emblematic of civilization's control of the world. By the side of the vessel are 
accessory figures, symbolic of the lakes and rivers. 

Accessory Sculpture — In the spandrels over the central arch are two female 
figures in relief. The one on the east represents the Buffalo River, the one on 

fthe west the Niagara River. These are by A. Weimann of New York. 
The sculptured keystone of the arch, a female head, is by Karl Bitter. The 
escutcheon above the keystone, representing the device of the Exposition, 

North and South America, is by Karl Bitter, as is 
the frieze composed of children, flanked at the coro- 
ners with gilded eagles. 

SURMOUNTING TOWER 
N the tower is the *« Goddess of Light ' ' (No. 90), 
by Herbert Adams of New York. On top of the 
Electric Tower is the gilded statue of the Goddess 
of Light. Her wings symbolize the swiftness of 
light ; the torch which she holds aloft in her 
right hand, its brightness. The statue is eighteen 
feet in height. The model may be seen in the 
Horticulture Building. 

NORTHWEST CORNER OF TOWER 

91, The Genius of Progress (used twice), by 

69 




*• *';a;""'*,*B' 



Art Hand-Book 



Philip Martiny of New York. A spirited female figure in high relief, symbolic 
of Progress, heralds the new era with a trumpet. 

NORTH SIDE OF TOWER 

In the spandrel over the main arch the west figure executed in relief repre- 
sents the River St. Lawrence ; the east figure, the River St. Clair. 

NORTHEAST CORNER OF TOWER 

" The Genius of Progress " (No. 91) is used here twice as on the northwest 
corner. 

EAST AND WEST BRIDGES LEADING TO PLAZA 

'* Child on Dragon" (No. 54). 

NORTH OF AGRICULTURE BUILDING 

91a. Agriculture, by Charles A. Lopez of New York. A 
of the early American farmer is plowing with a steer and a horse. 

91b. Manufacture, by Charles A. Lopez of New York, 
brawny mechanics are at work at a forge. 

SUNKEN GARDEN IN PLAZA 

On the balustrade around the sunken garden are a series of groups of children 
(see 57 a, b, c, d); flanking the east and west stairways are the bronzed lions 
(No. 24); Vase des Tuileries a and b. 

EAST SIDE OF PLAZA 

(South of entrance to Stadium.) 
"Antinous" (No. 38), *« Jupiter " (No. 56), *' Vulcan" (No. 34).^ 



figure typical 
A group of 




92. Germanicus, a reproduction of a Roman original of the time of Tiberius; 
in the Vatican, Rome. Germanicus Caesar was born 15 B. C, and died 19 
A. D. He was a son of Nero Clodius Drusus and a nephew of the Roman 
Emperor Tiberius. He won great fame when about 30 years of age in three 
successful campaigns against the Germans. In 17 A. D. he was accorded a 
triumph at Rome and received the name ** Germanicus.'* 

93. Jason, a reproduction of a Greek antique. Jason in Greek mythology 
was reared by the Centaur Chiron and became the leader of the Argonauts in 
their expedition to Colchis after the Golden Fleece. He plowed with the fire- 
breathing bulls and sowed the dragon's teeth from which sprang up armed men. 

94. Hercules, a reproduction of a Greek antique. Hercules was the Greek 
demi-god of physical strength. A club and lion's skin are his usual attributes. 

70 



Catalogue 6>/^Sculptur 



E 



STADIUM ENTRANCE SOUTH SIDE 

95. Mercury (called **ridole"), a reproduction of an antique bronze statue 
of a delicate youth in the Musee de Florence. 

96. Achilles (called the Borghese Achilles), a reproduction of the antique 
Greek statue in the Louvre, Paris. Achilles was one of the Homeric heroes of the 
Trojan War. He slew Hector and was himself slain by Paris, who planted an 
arrow in his heel, his only vulnerable spot. His mother had dipped him in the 
River Styx, when a child, to make him invulnerable, but held him by the heel. 
Symonds, in "Studies of the Greek Poets," says, **In Achilles Homer summed 
up and fixed forever the ideal of the Greek character. He presented an im- 
perishable picture of their national youthfulness and of their ardent genius to the 
Greeks." 

97. Apollino, a reproduction of the statue in the Tribuna of the 
Uffizi Gallery, Florence, which is an antique copy of a Greek original supposed 
to belong to the fourth century b.c. It is a graceful but effeminate characteri- 
zation of the youthful god Apollo. See No. 99. 

98. -^scHiNES, a reproduction of the Greek statue in the Museo Nazionale 
at Naples. ^schines was a great Athenian orator who lived between 389 
and 314 B.C.. He was the opponent and rival of Demosthenes. 

STADIUM ENTRANCE NORTH SIDE 

99. Apollo, a reproduction of a Greek original in the Vatican, Rome, 
known as the Apollo Belvidere. In Greek and later in Roman Mythology, 
Apollo was the sun-god, the leader of the Muses, the god of poetry, music, 
and the fine arts. He is usually represented with either the lyre, bow, oracu- 
lar tripod, or the laurel. Apollo was supposed to be the divinity which in- 
spired the oracle at Delphi. 

100. The Discobolus of Naucydes, a reproduction of the antique Greek 
statue in the Vatican at Rome of an athlete, discus in hand, about to make a 
throw. Mentioned by Pliny as the work of the Argive sculptor Naucydes, 
B.C. 350—326. Found at Colombaro on the Via Appia eight miles from 
Rome. Few antiques have sufi^ered so little injury. Scharf says : *' Were it 
not that the statue is in places unfinished we might fairly conclude it to be the 
work of Naucydes, such is its superlative excellence." 

loi. Minerva Giustiniani, a reproduction of the Greek antique in the 
Vatican, Rome. The goddess is represented with spear, helmet, and eegis. 
For character and attributes see No. 53. 

EAST SIDE OF PLAZA 

(North of Stadium Entrance) 
^schines. No. 98. 

102. Fighting Gladiator, a reproduction of the original Greek antique in 
the Louvre, Paris. 

103. Apoxyomenos, a reproduction of the antique copy in the Vatican, 
Rome, of the celebrated bronze of Lysippus. The subject is a Greek athlete 
scraping himself with the strigil or scraper used after the customary rub-down 
with oil. Apoxyomenos merely means <* scraping oneself." This statue is 
famous because it embodies the proportions which the great Greek sculptor 
Lysippus contended made the ideal of manly beauty. 

PROPYLiEA 

104. Pan and Eros, by Isidore Konti of New York. Eros in Greek 
Mythology was the God of Love and the son of Venus. Pan, the God of 

71 



Art Hand-Book 



the Fields and Flocks, is represented as experiencing the divine passion, though 
rough and rugged in nature, and is clinging with one arm to Eros, God of Love, 
who seems to be eluding him and laughing. 
Antinous, No. 38; Venus Genetrix, No. 35. 

105. Venus with Apple, a reproduction of the famous original statue by 
Thorwaldsen at Copenhagen. 

^schines. No. 98. 

106. Venus of Arles, a reproduction of the antique statue found at 
Aries, France, in 165 1, and now in the Louvre. The figure is draped from the 
waist. In one hand there is an apple. 

107. Ceres, a reproduction of a Roman antique. Ceres, in early Roman 
Mythology, was the goddess of the crops and the patron of all who tilled the 
soil. The Romans later identified her with the Greek divinity Demeter. 

108. The Bather, a reproduction from the original statue in the Louvre, by 
Falconet. A gracefiil, undraped female figure stands with one foot extended 
as if about to step into the water. 

109. Demosthenes, a reproduction of the antique portrait-statue now m the 
Vatican, Rome. Demosthenes was an Athenian statesman, and the greatest of 
the Greek orators. He was born in 384 or 385 b.c. and died in 322 B.C. 

Narcissus, No. 36; Minerva Giustiniani, No. loi; Achilles Borghese, No. 

1 10. Sophocles, a reproduction of the antique portrait-statue in the Lateran 
Museum, Rome, probably made about 300 b.c. from a bronze original. 
Sophocles was one of the three great tragic poets of Greece. He was born in 
495 or 496 B.C., and died 406 b.c 

Germanicus, No. 92. 

111. Amazon, a reproduction of an antique original in the Vatican. The 
Amazons, according to the Greek fable, were a nation of women who excluded 
men, and devoted themselves to hunting and war. 

Apollino, No. 97. 

112. Diane Chasseuresse (Diana the huntress), a reproduction of the statue 
at Versailles, and sometimes called the ** Versailles Diana." 

113. The Marble Faun, a reproduction of the antique marble copy in the 
Capitoline Museum, Rome, of the celebrated faun of Praxiteles. In this 
famous statue the faun is portrayed as a human youth save for the slightly 
pointed ears and the unusual hollow in the bridge of the nose. Hawthorne's 
novel has stamped this famous statue with the name " The Marble Faun" for 
the English-speaking world. 

Minerva, No. 53; Apollo Belvidere, No. 99. 

114. Satyr and Infant Bacchus, a reproduction of the original in the 
Louvre, by Perraud. The Satyr is playing with the child God of Wine, whom 
he holds upon his shoulder. 

WEST SIDE OF PLAZA 

(North of Midway Entrance) 
Bather, No. 108. 

115. Venus Coming from Bath, from the original in the Louvre, by 
Perraud. 

116. Dancing Faun, a reproduction of the famous Greek bronze statuette 
discovered at Pompeii and now in the Museo Nazionale, Naples. See No. 117. 

117. Faun with Kid, a reproduction of an antique statue. According to 
the Roman fable, the fauns were a class of demigods with human bodies but 

72 



Catalogue <?/ Sculpture 

goats* legs and ears. They inhabited the woods and fields, and were later con- 
founded with the Greek satyrs who were the attendants of Pan. 

FACING ON MIDWAY 

(North Side of Entrance) 

Venus of Aries, No. io6. 

11 8. Bacchante, by John Gelert of New York. A partly draped female 
figure, dancing ; holds a branch of grape clusters above her head. See No. 

119. 

(South Side of Entrance) 

119. Bacchant, by John Gelert of New York. A Greek youth excited 
with wine is shouting the cry of the Bacchant, ** lo Bacchus!" A Bacchant 
was a priest or votary of Bacchus who took part in the wild revels held in honor 
of the wine-god. 

Venus Genetrix, No. 35. 

WEST SIDE OF PLAZA 

(South of Midway Entrance) 

120. SiLENus Carrying Infant Bacchus, a reproduction of the Greco- 
Roman antique in the Glyptothek, Munich. Silenus in Greek Mythology 
was an elderly satyr who was foster-father to Bacchus, the wine-god. He is 
usually represented as fat and sensual, and often with a wine -cup or bunch of 
grapes. 

121. Faun Playing the Scabellum, a reproduction of an antique statue in 
the UfHzi Gallery at Florence, representing a faun dancing and playing the 
cymbals. 

122. Venus de Medici, a reproduction of the famous antique statue now in 
the Tribuna of the Ufiizi Palace, Florence. It is a gracefiil undraped figure 
of the goddess rising from the sea (Anadyomene). The arms are held before 
the body and a dolphin is to the left. The original was probably executed 
in the time of Augustus. 

Marble Faun, No. 113; Thorwaldsen Venus, No. 105; Narcissus,^ No. 36. 

WEST MALL 

The sculpture here is the same as in the East Mall. See No. ']']. 

BRIDGE WEST OF WEST MALL 

Nymphs and river-gods, Nos. 48, 49, 50, 51. 

RAMP WEST OF BRIDGE 

Chien Molosse (Watch Dog), No. 79. 

BAZAAR BUILDING 

122a. Groups of Children, by Isidore Konti of New York, on the four 
corners of the Bazaar Building. 

123 and 124. Niche Figures, by Isidore Konti. 

ACETYLENE BUILDING 

125. Acetylene Genii, by M. Loester of New York. Groups of children 
holding acetylene lights are used on the four corners of the building. 

73 



Art H and-B o o k 



BRIDGE WEST OF MACHINERY BUILDING 

Nymphs and river-gods, Nos. 48, 49, 50, 51. 

COURT OF LILIES 

Groups of children. No. 57 a, b, c, d. Accessory Sculpture is the same as in 
the Court of Cypresses. See No. 48. 




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o o 



UAriOIHS 

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COLONNADE WEST OF COURT OF LILIES 

126. Not placed. 

Venus Genetrix, No. 35 (on terrace). For Accessory Sculpture see No. 53. 

COLONNADE EAST OF COURT OF LILIES 

127. The Pilgrim Father, by J. Q^A. Ward. The bronze statue is in Cen- 
tral Park, New York. 

Apollo Belvidere, No. 99 (on terrace). For Accessory Sculpture see No. 56, 

74 



Catalogue <?y^ Sculpture 

COURT BETWEEN GRAPHIC ARTS AND MUSIC BUILDINGS 

The Three Graces, No. 44. For Accessory Sculpture see No. 44. 

SCULPTURE ON TEMPLE OF MUSIC 

128. Heroic Music (Northwest corner), by Isidore Konti of New York. 
A Bard is reciting his songs, inspired by a Muse who with one hand is uplift- 
ing her veil, indicating the past, while with the other she holds the wreath of 
laurels symbolic of the glorification of the hero. 



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75 



Art Hand-Book 



1 29. Music OF THE Dance (Northeast corner), by Isidore Konti of New 
York. Bacchus, the God of Joy and Wine, is playing his flute, while a Bacchant 
personifying Gaiety and a boy representing Humor dance. 

130. Sacred Music {Southeast corner), by Isidore Konti of New York. St. 
Cecilia is playing a harp surrounded by angels who are playing and singing. 
This group symbolizes Religious Ecstasy and Emotion. 

131. Lyric Music (Southwest corner), by Isidore Konti of New York. A 
youth inspired by Eros, the God of Love, is singing to a maiden. 

Accessory Sculpture — Above the four main groups are groups of chil- 
dren with musical instruments. A swan is the center of each group, 
symbolic of Harmony and Instrumentation. These sculptures also are by 
Konti. 

WEST ESPLANADE FOUNTAIN 

(The theme of the sculpture in front of the Horticulture Building is Nature 
and Man's use of Nature's wealth and resources. Note Mr. Bitter's article, 
** The Sculpture Scheme.") 

132. Animal Wealth (North group), by E. C. Potter of New York. A 
bear stands on his hind legs and holds a slaughtered deer. On the left is an 
Indian hunter with bow and arrows, and on the right a white trapper with a 
trap beside him. 

133. Animal Wealth (South group), by E. C. Potter of New York. An 

Indian stands with a lamb in his 

^"Y "^"(^ arms. At the left is a negro with a 
poTTfR pole -yoke and horse-collar. On 
the right kneels a white man with an 
ox-yoke and a milking-stool. 

134. Floral Wealth (North 
group), by Bela L. Pratt of Boston* 
Flora stands in a chariot filled with 
flowers holding a garland above her 
head. The car is drawn by May 
and June, two female figures. De- 
cay, an aged figure with a bony 
I I hand, follows the chariot. Two 

children precede it. 
135. Floral Wealth (South group), by Bela L. Pratt of Boston. A 







male figure emblematic of the Harvest stands in a chariot filled with fruits 
and holds a stalk of Indian corn. August and 
September, two male figures, draw the car. 
Time with a scythe follows and two children 
precede it. 

136. Fountain of Ceres (North side of basin), 
by Edwin F. Elwell of New York. The god- 
dess Ceres stands in a chariot with a scepter in 
her right hand, and in her left a stafi^ the head 
of which is an ear of maize. Two groups of sea- 
horses are at her feet. Ceres in Roman My- 
thology was goddess of the harvest. 

137. Fountain of Kronos (South side of ^ 
basin), by Edwin F. Elwell of New York. Kro- „ 
nos or Time is represented as a winged figure 

76 



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Catalogue (?yScuLPTUR 



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A standing female figure announces 



<AFV:iV-\TlB>Er3 



standing on a turtle, the wings being symbolical of the swiftness of Time and 
the turtle of the slowness of Time. A 
group of elk with fishes' tails is at his feet. 

138. Mineral Wealth (North 
group), by Charles H. Niehaus of New 
York. A spirited female figure holds y^ 
a pot of fire above her head, announcing \ 
the discovery of metal-working. Around ■^ 
are grouped male figures engaged in va- 
rious phases of the craft, one carrying a 
molder's pot, one with an anvil, one 
with a retort, one crushing ore, one 
with a mortar and pestle, another with 
a blow-pipe. 

139. Mineral Wealth (South group), 
by Charles H. Niehaus of New York. 

the discovery of mineral wealth to a group of male figures at her feet. 
Behind her one man is smelting ore, another has a gold-washer's pan, and a 
third sits with a pick between his knees. 

140. Fountain of Nature (main fountain), by George T. Brewster of 

New York. Nature, personified by a 
nude female figure, stands on a pedestal, 
the base of which is the earth. Her 
hands are lifted above her head, holding 
the Sun. At her feet are two children, 
a boy and a girl, emblematic of the ma- 
ternal character of Nature. Below these 
sit the four elements. Earth typified by a 
female figure with a cornucopia and a 
basket of fruits, the Sea by a bearded 
sea-god with a trident. Air by a female 
figure crowned with a crescent and hold- 
ing a winged staff. Fire by a youth of 
Promethean type with a scepter. Below 
the basin rim and supporting it are 

groups representing the Four Seasons and the Four Winds. A faun piping and 
a nymph gaily beating a triangle (on the Southwest quadrant of the fountain) 
typify Spring. Next (on the Northwest quadrant) a male figure is lifting the 
cover from a flower-filled cornucopia held by a female figure typifying the abun- 
dance of Summer. On the Northeast quadrant a female figure with sheaves of 
grain and a sickle, and a male figure with lightnings and a hammer, represent 
Autumn. Winter is symbolized by the group on the Southeast quadrant, a male 
figure with a squirrel who extends a branch of acorns and oak leaves to a mer- 
maid with a bowl. Between the groups of the seasons on the North, East, 
South, and West are male figures representing the Four Winds. On the base 
which supports the fountain are sculptured in relief the twelve signs of the Zo- 
diac, symbolical of the Twelve Months. 
Accessory Sculpture. See No. 33. 

CIRCLE OF SHRINES ON WEST ESPLANADE 

Vulcan, No. 34; Venus Genetrix, No. 35 ; Narcissus, No. 36 ; Venus 
Coming from Bath, No. 37 ; Antinous, No. 38 ; Venus with Phial, No. 39. 

77 




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F^:>VriT''0^oyN,ATVRE: 



Art Hand-Book 



SCULPTURE ON HORTICULTURE BUILDING 

■ 141 and 142. Horticulture — Female figure draped with flowers (North 
pedestal). Same figure draped with garlands of fruits (South pedestal). Both 
statues are brilliantly colored. 

Accessory Sculpture — Above the pedestals on the fa9ade are two groups in re- 
lief of Horticulture in a chariot drawn by lions. In the North group she is scat- 
tering flowers ; in the South group she is surrounded with fruits. On the columns 
on the fa9ades of the North and South pavilions is a female figure with a palm. 

THE ROSE GARDEN 

143. Fountain, Struggle of Existence, by Miss Enid Yandell of Ken- 
tucky, designed for the Carrie Brown Memorial at Providence, R. I. The 
five figures which comprise the group represent the effort of the soul to free 
itself from earthly tendencies and the infirmities of the body. The struggle 
is symbolized by an angel with outstretched wings in the grasp of Human 
Passion, represented by a male figure. Duty hinders the flight of the Soul, 
clinging to it, and holding the figure of Life with the left hand. Avarice is 
represented by an old man, seated and holding the robes of the angel, while 
he clasps a bag of gold. Miss Yandell was the author of the heroic statue of 
Daniel Boone at the World* s Fair. 

WEST OF woman's BUILDING 

144. Chariot Race, by Frederic G. Roth of New York. This group 
depicts a Roman chariot swinging around one of the " meta," or boundary posts, 
of the arena. The curve is sharp, as the leaning of horses and chariot indicates. 
The driver, balancing himself, holds in the horses on the inner side of the circle 
while the horses on the outside are given free rein. 

SOUTH OF woman's BUILDING 

145. The Challenge, by Charles Cary Rumsey of Buffalo. A spirited 

equestrian statue of an American Indian 
astride a bare-backed pony. The In- 
dian has checked his horse and bran- 
dishes his spear in challenge to some 
adventurous brave of a hostile war 
party. Mr. Rumsey is in the class of 
1902 at Harvard University, 




man aspiration after divine ideals. 

147. Intelligence (on South side), by Edwin F. Elwell 
of New York. A female figure sits on a throne. The ball 
in the left hand represents the divine and perfect law out 
of which crude man came; In order to receive this perfect 
divine law of intelligence, man must crucify his natural self. 
The open book in the lap of the statue represents natu- 
ral intelligence among men. The feet of the Goddess 
Intelligence rest on a stool with swine's feet, represent- 
ing the lowest forms of natural intelligence. 

78 



NEW YORK STATE BUILDING 

146. Aspiration (on North side), 
by Mrs. Harry Payne Whitney of 
New York. The figure of a man 
stands with eyes lifted heavenwards and 
with upturned palms, expressive of hu- 






a"*** 



NCWVDRK 

STATE 

BUILDIfiG 



I 




Catalogue ^y Sculpture 



148. Progress (used twice on South side), by Hendrick Christian Andersen 
of Newport, R. I. In this colossal group a naked youth bestrides a powerful 
horse, typifying Man*s mastery and use of Nature. His eyes look forward into 
the future, and his hands on the reins control and regulate the impatience and 
restiveness of the huge brute which is bearing him onward. 

149. Not placed. 

ART BUILDING 

150. General Sherman, by Augustus 
St.-Gaudens of New York. This eques- 
trian statae was exhibited at the Paris 
Exposition of 1 900, winning a grand prix 
for the sculptor, who was also made an 
officer of the Legion of Honor. A 
Winged Victory with a crown of laurel 
precedes the horse. This group is pro- 
nounced one of St.-Gaudens's greatest 
works. The horse was modeled from 
''Ontario," a horse belonging to Mrs. 
S. S. Howland of Washington, which once held the world's high-jump record. 

151. Pan, by George Gray Barnard of New York. 




Vases and Caryatides 

(In the decoration of the gardens, balustrades, and approaches a number of 
beautiful and famous vases and caryatides from Versailles and the Tuileries are 
used.) 

A. Vase Cratere, known in English as the *» Krater with the Mask *' from 
the Greek player's masks which decorate it. This is a reproduction of a 
famous antique Greek vase now in the Tuileries. The Greeks applied the 
name Krater to the vases with wide, bell-like mouths in which the wine was 
mixed with water at dinner. 

B. Vase Amphitrite, a reproduction from the original at Versailles. The 
vase bears this name from the Amphitrite group which decorates it. Amphi- 
trite in Greek Mythology was the Goddess of the Sea. 

C. Vase des Tuileries, a reproduction of a noted vase in the Garden of the 
Tuileries. This, like **A," is a Krater in shape. Upon each handle just 
below the rim of the bowl is a female head. 

D. Vase des Tuileries No. 2, a reproduction of a vase from the Tuileries 
Garden. The shape is that of the Greek Krater. It is decorated on either side 
with a medallion of a female head set between two palm branches. 

E. Vase Louis XIV, a reproduction of the original marble vase in the 
Tuileries. 

F. Vase Borghese, a reproduction of the celebrated antique Roman vase at 
the Villa Borghese, Rome. This is the largest of the vases used in the 
Exposition. 

G. Vase Supported by Terms, a reproduction from the original in the 
Gardens of Versailles. Three children standing on the pedestal support a flat 
basin on their heads. 

H. Vase Medici, Forme Menodes. 

I. Term with Male Head, by Herbert Adams of New York. Statues of 
the God Terminus were merely pillars or posts used as landmarks, and were 

79 



Art Hand-Book 



crowned with garlands by the owners of the conterminous lands. According 
to the Roman Myth, Terminus was requested to give up his altar on the Tar- 
peian Rock by Tarquin to make room for a temple to Jupiter. He replied, 
*' Cedo nulli " — **I give way to no one." This motto and the device of a 
Term were adopted by Erasmus. A Term in architecture means a pedestal 
or pillar of the character originally used for the God Terminus. 

J. Term with Female Head, by Herbert Adams of New York. See I. 

K. Caryatid Hercule, a reproduction of the original in the Gardens of 
Versailles. Caryatid is the name given to the column made usually in the 
form of a draped female figure and used to support an entablature. In this 
case the sculpture is a body of Hercules represented with club in one hand, 
the golden apples of the Hesperides in the other, and the skin of the Nemean 
lion about his waist. 

L. Caryatid Bacchante, a reproduction of the original in the Gardens of 
Versailles, of the period of Louis XIV. A Bacchante is represented playing a 
tambourine. See K. 

M. and N. Caryatides, by Professor L. Amateis of Washington. These 
sculptures, one of a Bacchante and one of a Satyr, are used on the Pergola 
Buildings, and on the trellises on either side of the Court of Lilies and the 
Court of Cypresses. 



Index of Contemporary Sculptors 



Adams, H., Nos. 3, 26, 27, 90. 
Amateis, L. See Vases and Cary- 
atides. 
Andersen, H. C, No. 148. 
Baerer, H., No. 83. 
Barnard, G. G., Nos. 88, 89, 151. 
Bartlett, P. W., Nos. 30, 65, 73, 

74» 75> 76. 
Bissell, G. E., No. 23. 
Bitter, K., Nos. 11, 13, 14. 
Boyle, J. J., Nos. 31, 32. 
Brewster, G. T., Nos. 47, 140. 
Bush-Brown, H. K., No. 15. 
Cowper, W., No. 42. 
Elwell, E. F., Nos. 136, 137, 147. 
French, D. C, Nos. i, ']']. 
Gelert, J., Nos. 22, 118, 119. 
Gerlich, G., No. 18. 
Goddard, R., No. 85. 
Godebrod, L. A., No. 87. 
Grafly, C, No. 33. 
Hamann, C. F., No. 20. 
Hartley, ]. S., No. 16. 
Jaegers, A., No. 17. 
Konti, I., Nos. 28, 70, 104, 122, 

123, 124, 128, 129, 130, 131. 
Loester, M., No. 125. 



Lopez, C. A., Nos. 68, 69, 91a, 91b. 
Lukeman, A., Nos. 9, 10. 
MacMonnies, F., Nos. 55, 64, 67. 
McNeil, H. A., Nos. 29, 46. 
Martiny, P., Nos. 8, 19, 58, 82, 84, 

86, 91. 
Matzen, H. N., No. 21. 
Niehaus, C. H., Nos. 138, 139. 
Partridge, W. O., No. 41. 
Perry, R. H., No. 30. 
Potter, E. C, Nos. 132, 133. 
Pratt, B. L., Nos. 66, 134, 135. 
Proctor, A. P., Nos. 45, 60, 61. 
Roth, F. G,, Nos. 4, 80, 144. 
Rukstuhl, F. W., No. 43. 
Rumsey, C. C, No. 145. 
St.-Gaudens, A., No. 150. 
Schwarzott, M., Nos. 5, 40. 
Scudder, J., No. 59. 
Shrady, H. M., Nos. 6, 7. 
TefFt, C. E., No. 81. 
Tonetti, Mr. and Mrs. M., Nos. 71, 

72. 
Ward, J. Q. A., No. 127. 
Weimann, A., Spandrels on Tower. 
Whitney, Mrs. H. P., No. 146. 
Yandell, E., No. 143. 



80 



THE PICTURESQUE 
MIDWAY 

By Frederick W. Taylor of Concessions 



[In contrast with the main plan of the Exposition, where the architectural 
features harmonize and for the most part are conceived in the same style, is the 
architecture of the Midway. Here the buildings express the fantastic diversity of 
races, ideas, and amusements, as in the Exposition proper they express arrangement 
and uniformity. But despite the architectural incongruity of the Midway as a 
whole, there are single architectural effects of great charm and interest. Such 
concessions as ** The Streets of Venice" and *'Alt Niirnberg " are accurate re- 
productions of famous old-world styles of building. As Director of Concessions, 
Mr. Taylor, author of the following article, supervised the formation of the 
Midway. He is therefore the highest authority as to its nature and interests. 
— Editor.] 



The " Midway,*' as a name applied 
to an amusement section of an exposi- 
tion, seemed to the management of the 
Pan-American Exposition to have be- 
come so firmly impressed on the pub- 
lic mind as to be the only one to apply 
to that feature of the first exposition in 
the new century. 

The name came about in this wise — 
but, on second thought, that is irrele- 
vant and belongs to another story. 

There are two distinct phases of the 
Pan-American Midway. One is com- 
posed of the distinctly amusement fea- 
tures, and the other is made up of those 
which are primarily, or largely, edu- 
cational. That there is an educational 
side will not have occurred to many 
persons, but it is more than likely that 
no single phase of the Exposition in 
architecture, exhibits, or concessions 
will leave a more lasting impress than 
will the ethnological features of the 
various villages. Great effort has been 
made to have these features correct in 
every way. 

Next to a sojourn in Mexico, in the 
portions of the West still inhabited by 
Indians, in Labrador, Hawaii, or the 
Philippines, are the effects produced by 
visits to the villages peopled by real 
men and women of the various coun- 



tries mentioned, living in houses the 
counterparts of those they occupy at 
home, surrounded by the same imple- 
ments, wearing the same clothing, or 
absence of it, and whiling away time 
with the same dances or other amuse- 
ments. 

The educational side is also present, 
in large proportion, in the zoological 
series of which the wild-animal arena 
and the ostrich farm are examples, and 
the pictorial series of which the cyclo- 
rama and the panopticon are illustra- 
tions. All these are clearly instructive 
and healthful, and at the same time fur- 
nish sufficient reason for passing away 
pleasantly, and profitably, portions of 
the time available for visits to the Ex- 
position. 

The more purely theatrical side is 
provided by "Darkness and Dawn," 
"Trip to the Moon," "House Up- 
side Down," and "Dreamland." 

The methods of directing and the 
products of human toil are illustrated 
in the Colorado Gold Mine and the 
Glass Factory, while those who are 
searching for sensations will find them 
in the aero cycle, the captive balloon, 
the scenic railway, the merry-go-round, 
and the miniature railway. 

If the attempt to classify the attrac- 



8i 



Art Hand -Book 



tions has any merit, it may be presented, 
perhaps, somewhat roughly as follows: 

Ethnological. 

African Village. 
Alt Niirnberg. 
Beautiful Orient. 
Chiquita. 
Eskimo Village. 
Gypsy Camp. 
Hawaiian Village. 
Indian Village. 
Infant Incubator. 
Japanese Village. 
Mexican Village. 
Old Plantation. 
Philippine Village. 
Venice in America. 

Zoological. 

Bostock's Animal Arena. 
Diving Elks. 

Educated Horse *' Bonner.** 
Ostrich Farm. 

Pictorial. 

Cineograph. 

Cleopatra. 

Dawson City. 

Fall of Babylon (Painting). 

Johnstown Flood. 

Kilauea. 

Living Pictures. 

Missionary Ridge. 

Mutoscopes. 

Panopticon. 

Human Labor. 

Colorado Gold Mine. 
Glass Factory. 

Theatrical. 

Darkness and Dawn. 
Dreamland. 



House Upside Down. 
Trip to the Moon. 



Merchandising. 



Bazaar. 



Sensational. 

Aero Cycle. 
Captive Balloon. 
Merry-go-round. 
Miniature Railway. 
Scenic Railway. 

Gastronomic. 

Restaurants. 

The heading^ " Merchandising ** 
has only one entry under it, the 
Bazaar ; but in a few special cases 
selling is permitted in certain exhibits 
buildings, the thought being that only 
articles manufactured upon the grounds, 
or those having value as souvenirs, be 
offered the guests of the Exposition. 

This leaves to be covered only those 
articles of food and drink which are to 
be classed as necessities. Special effort 
has been made to provide restaurants 
of such classes as may enable any per- 
son of any taste and with any sized 
bank-account to find satisfactory service 
at fair prices. There are places serv- 
ing** a la carte,'* others ** table d'hote,'* 
and yet others ** lunch-counter** style. 
In many places a good meal can be had 
for from twenty -five to thirty-five cents, 
while in others you may pay a dollar, 
or two dollars, or more, and still get 
your money's worth. 

To assemble the amusement and 
catering features of an exposition is 
not a short nor is it an easy task. 
Those who have had the responsibility 
of serving the Pan-American millions 
in the capacity of gatherers and assort- 
ers of the things which go to make a 
visit pleasant, profitable, and comfort- 
able, submit the result of their labors 
with some pride, a little apprehension, 
and hearty good wishes for those who 
are to test the results of their labors. 



82 



HOW TO LOOK AT 
PICTURES 

By Mrs. Schuyler Van Rensselaer 

Author of " English Cathedrals," " Art Out of Doors," etc. 



The Art- Gallery of the Pan-Amer- 
ican Exposition contains, undoubtedly, 
the best collection of American works 
of art that has ever been gathered; and 
they are so arranged that they may be 
studied to the best advantage, the con- 
tributions of each artist being grouped 
together. Such a collection deserves 
to be approached in the right mood and 
the right manner. * 

The first step toward appreciating 
and enjoying works of art is to recog- 
nize the difference that may exist be- 
tween the verdict of true judgment and 
the verdict of personal taste. Often, 
of course, the two may coincide. But 
the fact that a picture does not greatly 
please our own eyes should not convince 
us that it is a poor picture. We do not 
decide in this way about other things. 
No one says, **I don't care to read a 
book of that kind — therefore it is a 
poor book"; nor, "That bonnet is 
unbecoming to me — therefore it is an 
ugly bonnet." But too often we do 
say, **I should not care to buy that 
picture, to live with it — therefore it 
can't be a fine picture." 

Rules for the discovering of true ex- 
cellence cannot, of course, be laid down 
in words. They must be learned by 
educating the mind and the eye in the 
presence of actual works of art, and, 
moreover, in the presence of Nature 
also; for very few eyes untrained in art 
have ever really looked at Nature in 
such a way as to be entitled to trust 
their own testimony in regard to the 
question whether or not an artist has 
truthfully portrayed any phase of it. 
Nevertheless, one general counsel can 
be given to the inexperienced: Try to 
put yourself at the artist's point of 



view, try to understand what he has en- 
deavored to do, before you say whether 
he has done it well or not. 

This counsel is needed even in the 
most literal sense. Often the effect of 
a picture depends very greatly upon its 
distance from the observer' s eye. There 
are many methods of painting, from the 
most minute and (to use a general but 
inaccurate term) ** highly finished," to 
the most broadly generalized; and each 
method, each given canvas, appears at 
its best from some special distance. 
To walk about a gallery close to the 
pictures, studying each as narrowly as 
possible, is to misread, to misunder- 
stand, the language in which most of 
them have been written. It is not a 
habit peculiar to our time. Centuries 
ago Rembrandt remarked to one of his 
visitors that pictures were meant to be 
looked at, not to be smelled. But it is 
a more unfortunate habit in our own 
time than it was in certain earlier ones, 
for modern methods of painting are 
most often less well adapted to exami- 
nation at the end of one's nose than 
were those — to cite an extreme in- 
stance — of the so-called "Little Mas- 
ters" of Holland. A miniature which 
can be taken in the hand and a wall- 
painting fifty feet above our head differ 
as much in the way they are painted as 
do, in the way they are played, the 
tenderest violin solo and a military 
march by a brass band. Between them 
are works which are meant to be seen 
at all possible varieties of distance; 
and the first effort of one who looks 
at them must be to discover the right 
points of view in a literal, physical 
sense. 

There is a right point of view also 



83 



Art Hand-Book 



in regard to an artist's choice of sub- 
ject. He may paint things you would 
never have chosen. Nevertheless, if 
his work is well done it ought to give 
you pleasure of some sort; and it prob- 
ably will if you will take the time to 
examine it, trying to see why the artist 
selected it — for what special beauty of 
color or line, of light and shadow, of 
character or meaning. 

Then it should be remembered that 
no kind of painting is or can be a lit- 
eral and complete representation of the 
chosen subject, any more than a story 
can be a full and complete record of 
all that its characters did and said and 
felt during the period that it covers. 
To paint a picture or to tell a story, 
one must select and condense, omit 
here and accentuate there. Much 
must be packed into little; and the re- 
sult may often be a suggestion rather 
than a record of the chosen subject, 
leaving a great deal to the imagination 
of him who reads the tale or looks upon 
the canvas. There are many beautiful 
pictures, indeed, which should be com- 
pared rather to brief poems than to 
stories — which are meant rather to 
stimulate the memory or to awaken the 
fancy than to portray facts. The artist 
has as much right as the worker in 
words to choose what he shall do. The 
observer (unless he intends to buy as 
well as to look!) should merely ques- 
tion whether he has succeeded in his 
special aim. If he asks for a plainly 
told anecdote when a poetic suggestion 
is offered him, he does injustice to the 
painter and ruins his own chances of 
enjoyment. Yet this is what that many- 
minded creature • called ** the general 
public*' constantly does in a picture- 
gallery. It complains that all the blades 
of grass in the foreground of a land- 
scape are not defined, when the painter 
has cared nothing about them for the 
moment because he has wanted to sug- 
gest the effect of a cloud-shadow on a 
meadow, or a wind in the tree-tops, 
or the glow of a sunset sky, and knew 
that to make his grass-blades conspic- 



uous would distract the eye from this, 
the central thought, the main intention, 
of his picture. Or in looking at a 
portrait the public complains that only 
the head is "finished," that the gown 
and the hands are but ** roughly** or 
"carelessly** done, when the painter 
has wished, perhaps, to concentrate 
attention upon a beautiful effect of light 
falling upon the head, and has pur- 
posely and very wisely subordinated 
the other portions of his work. Such 
instances as these might be almost in- 
definitely repeated. And they bring 
me to another point: As truly as the 
painter may choose what he will paint, 
and dwell upon some factors in his sub- 
ject more than upon others if he thinks 
best, so he may choose the kind of treat- 
ment, of handling, of painting in the 
technical sense, that he will use to ex- 
press his idea. And if he expresses this 
idea well, then his picture is well painted 
and is as "highly finished** as it ought 
to be. 

This very popular term — "highly 
finished** — is, as I have said, an inac- 
curate one. It implies that every painter 
ought to elaborate his canvas as carefully 
as any brush could, and every part of it 
in equal measure. But, in truth, the 
most full and complete expression of a 
subject is sometimes given by means of 
brush-work, which is very far indeed 
from minute, and, when examined close 
at hand, seems very careless. Notice, 
for example, some of the pictures by 
Mr. John Sargent in this collection. 
Look at them for a moment — not for 
the sake of enjoyment but of instruction 
— as closely as you can. Their mean- 
ing as an interpretation of Nature will 
almost disappear. Then go to a distance 
and look again. You will find them 
more truthful, more vividly real, and 
therefore in the genuine sense more 
skilful and careful pieces of painting than 
you have often seen. Some of the 
greatest painters have done their best 
in this fashion, always or at times. It 
resembles, for example, the fashion in 
which Velasquez, one of the greatest 



84 



How TO Look at Pictures 



artists that ever lived, used his brush. 
Others, like Holbein, worked minutely, 
and their pictures can be enjoyed from 
the nearest point of view as well as 
from more distant ones. The main 
thing is not how a painter works but 
what result he achieves. If the result 
is truthful and alive, if it portrays 
or suggests something that he really 
saw, then his method is good. Your 
part, as an intelligent observer who 
wants to enjoy and to learn, is to 
try to discover what he saw, why he 
cared to paint it, what he wished 



his picture to convey to you, and whe- 
ther he speaks his meaning clearly. 
And it is surprising how quickly, look- 
ing at good pictures in this mood, even 
the inexperienced may learn something 
about real pictorial excellence — how 
soon they will understand that such ex- 
cellence can be enjoyed even though it 
does not coincide with strong personal 
preferences, and how delighted they will 
be by this enlargement of the power to 
receive from varied works of art varied 
kinds of pleasure of the eye and pleasure 
of the mind. 




85 




FINE 
AKTS 



THE EXHIBITION 
OF FINE ARTS r: 




By William A. Coffin 



Director of Fine Arts 



The plans for the Exhibition of fine Arts at the Pan-American Exposition, 
announced in the first circulars sent out fi-om the Division of Fine Arts in Novem- 
ber, 1 900, have been closely followed. The exhibition has been made up almost 
altogether by direct invitation. The artists of the United States, both those, at 
home and those living abroad, have been asked to submit lists of their works ex- 
ecuted since 1876 which they especially wish to have represent them in the 
exhibition, and selections have been made fi-om these lists. The response fi-om all 
quarters in time became so general and so enthusiastic that it has been possible to 
realize in the exhibition the plans, which, when first announced, seemed very diffi- 
cult of accomplishment. Some of the works in the exhibition have been secured 
fi-om the artists themselves, while others have been obtained fi-om amateurs and from 
public institutions. 

The director of Fine Arts, as soon as it was determined in October last that the 
scope of the exhibition should include only work sof American artists, felt that, 
while his work should begin at home and the first thing to be done was to secure 
the co-operation of the eminent artists who lived in the United States, it was quite 
as important to secure a full representation of the best work of our artistsd welling in 
Europe. After the circulars to artists and collectors had been issued and a large 
number of our best men had promised their support, he went abroad in January to 
obtain contributions fi-om the artists in Paris and other parts of the continent and in 
Great Britain. The result of this necessarily hurried trip has been to secure work 
from most of the prominent American painters and sculptors in Europe, whose names 
have long been familiar in the art world, and also an interesting collection of works 
by younger men who have finished their studies in the European art centres but 
have not yet returned to take up permanent residence in the United States. From 
the first of March up to the time when the actual installation of the exhibition in 
the Art building began, the work of the Director and his assistants has been entirely 
devoted to completing the representation of the artists at home. 



86 



The Exhibition of Fine Arts 



The United States exhibitors number over 650 and the total of works shown 
in the four groups is about 1,600. There are nearly 1,000 pictures, oil or water 
color, pastel and miniatures. In sculpture there are over 225 works. The 
etchings, engravings, black and white drawings, etc. are about 325 in number. 
Over 100 photographs of buildings erected by leading architects and other exhibits 
compose the architectural section. A gallery in the Fine Arts Building contains the 
Canadian exhibition of fine arts, which has been made up by a committee of the 
Royal Canadian Academy, with Mr. Robert Harris, President of the Academy, as 
chairman. In addition to these there are in the sculpture court half a dozen pieces 
of sculpture by Canadian artists. In the International Section are works by artists 
of South American birth and from such North American provinces as Newfound- 
land. 

The group system in the hanging of pictures is a feature of this exhibition, and 
it is owing in part to following this system of placing a number of works by the 
same artist in a group on the walls that the co-operation of a number of eminent 
artists has been secured who are unwilling to lend to exhibitions where only one or 
two examples of their work may be shown, or where, if they have a larger number, 
these works may be widely scattered. The exhibition of sculpture should prove 
to be a revelation to those who have not closely followed the wonderful progress 
made in recent years by American sculptors. It includes a number of important 
works which have been acclaimed in the annual exhibitions in New York and 
other cities, many pieces which have been medalled at the Paris Universal Ex- 
positions and in the annual Salons, as well as a number of works which have not 
before been in the United States or in Europe. Among the pictures are over 100 
canvases which have been awarded prizes at the Society of American Artists, the 
National Academy of Design, the American Water Color Society and other annual 
exhibitions in New York, at the Pennsylvania Academy of the Fine Arts, the Art Club 
of Philadelphia, the Art Institute of Chicago, and other important exhibitions in the 
United States, and in various foreign exhibitions. There are pictures also by such 
eminent artists as George Inness, Homer Martin and A. H. Wyant, among those 
who have passed away but whose work lends glory to the contemporary American 
school. 

The fact that, owing to unavoidable causes the construction of the Art Building 
at the Pan-American Exposition was not begun until the last week in December, 
1900, and that time was required for the completion of the building in order to 
make it suitable for the reception of the valuable works it contains, made it impos- 
sible to begin the installation of the exhibition until the latter part of May. As it 
requires a fiill month to properly place the exhibits, the doors of the Art Building 
could not be opened as early as could have been desired. The administration of the 
Division of Fine Arts feels confident that when the exhibition is ready for visitors 
the beauty and comprehensiveness of the exhibition as a whole and the high quality 
of the individual exhibits will be generally considered a fiill compensation for all 
delays due to the time and carefiil handling required for the installation of a collec- 
tion so valuable and so admirable in artistic interest. 



Art Hand-Book 



EXHIBITION OF FINE ARTS 

The Exhibition of Fine Arts of the Pan-American Exposition is in the Art 
Building specially constructed of brick, iron and glass for this purpose, and situated in 
the park in the southeast quarter of the Exposition grounds, near the Meadow Gate. 



CLASSIFICATION. 

The classification of the exhibition is 
as follows; 

Group 1. — Paintings in oil, water 
color, pastel and other recognized me- 
diums; miniatures, cartoons. 

Group 2. — Sculpture, including med- 
als and cameos. 

Group 3. — Drawings, etchings, en- 
gravings, black and white or monotint 
paintings in oil or water color. 

Group 4. — ^Architecture. 

All works in all classes must be orig- 
inal productions. 

No copies of works of art, whether 
executed in the same medium as the 
originals, or in different mediums, will 
be accepted. 

EXHIBITION OF THE UNITED 
STATES. 

JURY. 

The jurors in the four groups who 
kindly consented to act in an advisory 
capacity and as committees of selection 
in judging works offered for the ex- 
hibition by artists not on the invited 
list, were: 

GROUP 1. 

Edwin H. Blashfield, New York. 
Hugh H. Breckenridge, Philadelphia. 
William M. Chase, New York. 
R. Swain Gifford, New York. 
Edward Simmons, Wainscott, L. I. 
Frederick P. Vinton, Boston. 
Charles Y. Turner, New York. 
Irving R. Wiles, New York. 

COMMITTEE ON MINIATURES: 

Isaac A. Josephi, New York. 
William J. Baer, New York. 

GROUP 2. 

Daniel C. French, ]\ew York. 
Charles Grafly, Philadelphia. 
Karl Bitter, New York. 
A. Phimister Proctor, New York. 

l.ofC. 



GROUP 3. 

J. Carroll Beckwith, New York. 
Kenyon Cox, New York. 
Thure de Thulstrup, New York. 
Henry Wolf, New York. 

GROUP 4. 

John M. Carr^re, New York. 
Walter Cook, New York. 
John Galen Howard, New York. 
George F. Shepley, Boston. 
George Gary, Buffalo. 
August C. Esenwein, Buffalo. 
Edward B. Green, Buffalo. 
J. Knox Taylor, Washington. 
Robert S. Peabody, Boston. 

William A. Coffin, Director of Fine 
Arts, member of all the group juries 
and committees. 

Charles C. Curran, Assistant Director, 
Secretary of the Jury. 

INSTALLATION. 

The pictures are hung and the other 
exhibits are placed by the Director of 
Fine Arts. 

AWARDS. 

Awards will be made in accordance 
with the plan adopted by the Pan- 
American Exposition. The names of 
the jurors for the Division of Fine Arts, 
when they are appointed, will be pub- 
lished, together with ihe rules and reg- 
ulations. They will be of the classes 
following : 

Diplomas of Gold Medal. 
Diplomas of Silver Medal. 
Diplomas of Bronze Medal. 
Diplomas of Honorable Mention. 

The Director-General of the Pan- 
American Exposition will cause dies to 
be prepared from which medals may 
be struck; exhibitors who have received 
diplomas of medals will receive copies 
of the medals in bronze and may also 
receive the corresponding medals in 
gold and silver upon paying for the cost 
of manufacture and of the metal in- 
cluded. 



The Exhibition of Fine Arts 



EXHIBITORS 

A complete catalogue of the Exhibition of Fine Arts will be issued after the 
Exhibition is opened. Some of the prominent American Artists residing in the 
United States whose works are in the Exhibition : 



PAINTEEjS. 



Thomas Allen 
J. W. Alexander 
Maillard Armstrong 
Andreas Andersen 
Otto H. Bacher 
George R. Barse, Jr. 
Frank W. Benson 
William J. Baer 
Albert Bierstadt 
Edward A. Bell 
Reynolds Beal 
Edwin H. Blashfield 
W. Verplanck Bimey 
Carle Blenner 
Robert Blum 
George H. Bogert 
Hugh H. Breckenridge 
J. G. Brown 
Joseph H. Boston 
W. Gedney Bunce 
Robert B. Brandegee 
Cecilia Beaux 
R. A. Blakelock 
Howard R, Butler 
J. B. Bristol 
Walter F. Brown 
Matilda Brown 
Maria Brooks 
George De Forest Brush 
J. Carroll Beckwith 
Bryson Burroughs 
Sidney R. Burleigh 
Walter Qark 
Rose Clark 
Howard G. Gushing 
Kenyon Cox 
Charles C. Curran 
Louise Cox 
Reginald C. Coxe 
Carlton T. Chapman 
William M. Chase 
John R. Chapin 
I. H. Caliga 
Leyell Carr 
Evelyn R. Gary 
B. West ainedinst 
W. B. Closson 
Bruce Crane 
William A. Coffin 
F. S. Church 
E. Irving Couse 
W. W. Churchill 
Colin C. Cooper 
Charlotte B. Coman 



Charles Melville Dewey 
Thomas W. Dewing 
Henry G. Dearth 
Lockwood De Forest 
Maria Oakey Dewing 
A. B. Davies 
Frank De Haven 
F. S. Dellenbaugh 
Frank Duveneck 
Lockwood De Forest 
F. V. Du Mond 
J. H. Dolph 
Arthur W. Dow 
W. H. Drake 
Elliott Daingerfield 
Louis P. Dessar 
Thomas Eakins 
C. Harry Eaton 
J. J. Enneking 
Charles W. Eaton 
L. C. Earle 
Harvey Ellis 
Lydia F. Emmet 
H. Fitzgerald 
Frank Fowler 
Charles H. Davis 
Charles N. Flagg 
Ben Foster 
Frederick W. Freer 
Augustus Franzen 
Kenneth Frazier 
Henry B. Fuller 
Lucia F. Fuller 
R. Swain Gifford 
Seymour J. Guy 
Clifford P. Grayson 
Frank R. Green 
Gilbert Gaul 
Robert D. Gauley 
Alice R. Glenny 
William Graham 
Jules Guerin 
Edward Gay 
Philip Hale 
Alexander Harrison 
Birge Harrison 
James M. Hart 
William H. Hart 
W. St. John Harper 
Childe Hassam 
Charles Hayden 
Laura C. Hills 
Robert Henri 
Charles Hopkinson 



89 



Art Hand-Boo 



K 



Winslow Homer 


Edward Potthast 


E. L. Henry 


Henry Prellwitz 


Arthur Hoeber 


Edith M. Prellwitz 


William H. Hyde 


Maurice Prendergast 


Daniel Huntington 


Howard Pyle 


William H. Howe 


F. K. M. Rehn 


Alfred C. Howland 


H. W. Ranger 


Albert Herter 


Robert Reid 


Adele Herter 


Frederic Remington 


George Innes, Jr. 


Edward W. Redfield 


Samuel Isham 


W. M. J. Rice 


Eastman Johnson 


William T. Richards 


Joseph Jefferson 


W. S. Robinson 


Francis C. Jones 


Edward F. Rook 


I. A. Joseph! 


Guy Rose 


F. W. Kost 


Albert P. Ryder 


William Keith 


William Sartain 


Dora Wheeler Keith 


Clara E. Sackett 


Sergeant Kendall 


Walter Satterlee 


John Lambert, Jr. 


Sarah C. Sears 


John La Farge 


Taber Sears 


Francis Lathrop 


Charles Schreyvogel 


W. L. Lathrop 


R. V. V. Sewell 


F. S. Lamb 


Amanda B. Sewell 


W. H. Lippincott 


J. H. Sharp 


Louis Loeb 


Rosina E. Sherwood 


Chester Loomis 


William T. Smedley 


Wilton Lockwood 


George H. Smillie 


Will H. Low 


Edward Simmons 


M. L. Macomber 


Abbott H. Thayer 


Willard L. Metcalf 


D. W. Tryon 


Thomas Moran 


Ross Turner 


Anna Lea Merritt 


E. C. Tarbell 


George H. McCord 


C. Y. Turner 


J. H. Moser 


Emily Drayton Taylor 


Henry Mosler 


Henry B. Snell 


Stanley Middleton 


J. H. Sharp 


Paul Moschowitz 


Claire Shuttleworth 


C. M. Mcllhenny 


L. G. Sellstedt 


Percy Moran 


E. M. Scott 


Hermann D. Murphy 


James D, Smillie 


J. Francis Murphy 


E. T. Snow 


R. C. Minor 


F. Hopkinson Smith 


George W. Maynard 


Joseph Lindon Smith 


H. Siddons Mowbray 


Albert Sterner 


C. A. Needham 


W. E. Schofield 


J. C. NicoU 


Walter Shirlaw 


Burr H. Nicholls 


Charles W. Stetson 


Rhoda H. Nicholls 


R. M. Shurtleff 


J. H. Niemeyer 


Stanley Todd 


Leonard Ochtman 


J. H. Twachtman 


Walter Gilman Page 


William Thorne 


Walter L. Palmer 


Jules Turcas 


Arthur Parton 


Douglas Volk 


Frank C. Penfold 


A. T. Van Laer 


E. W. Perry, Jr. 


R. W. Vonnoh 


Charles A. Piatt 


K. W. Van Boskerck 


Frank C. Peyraud 


W. B. Van Ingen 


Bert Phillips 


Frederic P Vinton 


H. R. Poore 


Henry 0. Walker 


Benjamin C. Porter 


A. Bryan Wall 


Dewitt Parshall 


Edgar M. Ward 


Charles Rollo Peters 


H. W. Watrous 


W. Merritt Post 


John F. Weir 



90 



The Exhibition of Fine Arts 



J. Alden Weir 
W. J. Whittemore 
Sarah W. Whitman 
Carleton Wiggins 
Irving R. Wiles 



Worthington Whittredge 
Horatio Walker 
T. W. Wood 
C. H. Woodbury 
Charles Morris Young 



Among the American painters residing in Europe are : 



Edwin A. Abbey 
F. A. Bridgman 
H. S. Bisbmg 
Max Bohm 
E. W. Brown 
Mary Cassatt 
Alpheus Cole 
Charles C. Coleman 
Edwara D. Connell 
Edward Dufner 
William T. Dannet 
Mary E. Dickson 
Parke C. Dougherty 
Lowell Dyer 
Mark Fisher 
Herbert W. Faulkner 
Alexis J. Fournier 
Walter Gay 
A. D. Gihon 
C. M. Gihon 
Charles P Gruppe 
J. McLure Hamilton 
W. J. Hennessy 
George Howland 



J. Humphreys Johnston 
Ridgway Knight 
William C. Loring 
F. D. Millet 
Walter McEwen 
Mary F. MacMonnies 
Gari Melchers 
Richard E. Miller 
Charles Sprague Pearce 
George T. Porter 
Julius Rolshoven 
John S. Sargent 
J. J. Shannon 
Julius L. Stewart 
Julian Story 
H. O. Tanner 
Charles J. Theriat 
Seymour Thomas 
E. K. B. Thompson 
Elihu Vedder 
Eugene Vail 
Edwin Lord Weeks 
J. A. McNeill Whistler 



Among the American Artists deceased are : 



Benjamin A. Fitz 
Bliss Baker 
John L. Breck 
R. H. Eichelberger 
George Inness 



Richard Pauli 
Homer Martin 
Theodore Robinson 
Edward M. Taber 
A. H. Wyant 



Among the Sculptors at home whose works are included in the exhibition are 



Herbert Adams 
L. Amateis 
H. C. Andersen 
George Grey Barnard 
Clement Bamhorn 
Karl Bitter 
J. J. Boyle 
H. K. Bush-Brown 
A. Sterling Calder 
Thomas Shields Clarke 
Cyrus E. Dallin 
F. B. Elwell 
Daniel C. French 
John Gelert 
Charles Grafly 
J. S. Hartley 
Paul Lachenmeyer 



Fernando Miranda 
A. H. McNeil 
Charles J. Mulligan 
Samuel Murray 
Charles H. Niehaus 
A. Piccirilli 
F. Piccirilli 
Bela L. Pratt 
A. Phimister Proctor 
Frederic Remington 
F. W. Ruckstuhl 
Augustus Saint Gaudens 
Louis Saint Gaudens 
Lorado Taft 
Bessie Potter Vonnoh 
Enid Yandell 



91 



Art Hand-Book 



Some of the American sculptors residing in Europe who are represented are 



Paul W. Bartlett 
Victor D. Brenner 
Richard E. Brooks 
John Flanagan 
Frederick Macmonnies 
Solon H. Borglum 



Eli Harvey 
J. H. Roudebush 
Amory C. Simons 
Janet Scudder 
Edward Berge 



The architects and firms of architects represented number about forty . 
them are : 



Among 



Francis R. Allen 

Andrews, Jacques & Rantoul 

Benson & Brockway 

C. H. Blackall 

W. H. Boughton 

Bragden & Hillman 

Charles I. Berg 

Boring & Tilton 

Edward P. Casey 

J. R. Coolidge, Jr. 

V. A. Wright 

Cope & Stewardson 

Cram, Goodhue & Ferguson 

Frank Miles Day & Bro. 

Wilson Eyre, Jr. 

Elzner & Anderson 

Ferry & Clas 

Joseph H. Freedlander 

Ernest J^iagg 



Cass Gilbert 

R. J. Hardenbergh 

Richard H. Hunt 

Hunt & Hunt 

Jardine, Kent A Jardine 

E. A. Kent 

Charles R. Lamb 

E. J. Lewis, Jr. 

Little & Browne 

A. W. Longfellow 

Henry Rutgers Marshall 

McKim, Mead & White 

Parsons & Pentecost 

George B. Post 

T. H. Randall 

R. H. Robertson 

Franklin W. Smith 

Vonnegut & Bohn 

Warren & Wetmore 



The members of the Pan-American Board of Architects who compose the 
jury in Group 4 are not represented in the exhibition, but it is expected that their 
buildings on the grounds will be in competition for awards. 

Among the wood-engravers who will be represented are : 



Walter M. Aikman 
Peter Aitkin 
C. W. Chadwick 
Gustav Kruell 
H. C. Merrill 
William Miller 
William D. Clausen 
Timothy Cole 
Harry Davidson 
John P. Davis 
John W. Evans 
Frank French 



E. Heinemann 
Thomas Johnson 

F. S. King 
R. A. Muller 
Henry W. Peckwell 
Caroline A. Powell 
S. G. Putnam 
Ernest C. Schladitz 
Charles State 
John Tinkey 

F. H. Wellington 
Henry Wolf 



Some of the artists who exhibit etchings, drawings, etc., are : 



E. L. Blumensehein 

Walter Appleton Clark 

T. De Thulstrup 

George Wharton Edwards 

Blanche Dillaye 

Harry Fenn 

Charles Dana Gibson 

C. A. Gilbert 

Jay Hambidge 

Lucius Hitchcock 

E. W. Kemble 



Eric Pape 
Maxfield Parrish 
Joseph Pennell 
Louis Rhead 
H. Reuterdahl 
Sarah Stillwell 
Charles J. Taylor 
O. C. Wigand 
Rufus F. Zogbaum 
J. A. McNeill Whistlei 



92 



The Exhibition of Fine Arts 

CANADA 
CATALOGUE 

GROUP I. GROUP II. 



GROUP I. 



OIL PAINTINGS. 



BELL-SMITH (F. M.), R. C. A. 

London Bridge. (Loaned by the 
Canadian Club, of Hamilton, 
Ont.) 

Strawberry Pickers, Oakville, Ont. 
BRYMNER (WM.), R. C. A. 

Clearing Weather. 
BROWN (J. ARCH.), A. R. C. A. 

The Miller's Home. 
BRUCE (H. BLAIR) 

The Bathers. 
BEAU (HENRI) 

Spring. 
BELL (M. A.) 

Treasure Trove. 
CHALLENER (F. S.), R. C. A. 

Workers of the Fields. 
CRUIKSHANK (WM.), R. C. A. 

Ploughing — ^Lower St. Lawrence. 
CULLEN (MAURICE), A. R. C. A. 

Sunny September. 
CARLYLE (FLORENCE), A. R. C. A. 

Golden Rod. 
DYONNET (E.), A. R. C. A. 

Portrait, in the Studio. 

Portrait of Mr. Charles Gill. 

Cattle Returning Home. 
FORSTER (J. W. L.), A. R. C. A. 

Portrait, Mrs. King. 

Hon. G. W. Allan (Loaned by 
Toronto Conservatory of Music.) 
GRIER (E. WYLY), R. C. A. 

Mrs. J. K. Kerr. 

Frederick Wyld, Esq. 
GRAHAM (J. L.), A. R. C. A. 

Dinner-time in a Stable. 

Ploughing — near London. 

Carting Sand. 
HAGARTY (C. S.) 

Dutch Interior. 

Dutch Interior. 
HARRIS (ROBT.), President R. C. A. 

Portrait, Mrs. A. F. Riddel. 

Portrait, Mrs. R. H. 

Banjo Boy. 
HOPE (WM.), A. R. C. A. 

York Beach, "Maine." 
HAMMOND (JOHN), R. C. A. 

Herring Fishing — Bay of Fundy. 



KNOWLBS (F. McGILLIVARY), 

R. C. A. 

Limehouse Reach — River Thames. 

The Last Load. 

The Pool— River Thames. 
MARTIN (T. M.), R. C. A. 

MUNTZ (LAURA), A. R. C. A. 

Girl Knitting. 
MORRIS (EDMUND), A. R. C. A. 

Poppy Fields. (Loaned by B. E. 
Walker, Esq.) 
MOSS (C. E.), R. C. A. (deceased) 

Melodies of the Forest. 
MORRICE (JAMES WILSON) 

The Beach of St. Malo. 
PATTERSON (A. D.), R. C. A. 

Portrait Study. 
PINHEY (J. C), R. C. A. 

A Father in Israel. 
RIDOUT (EVELYN M.) 

Study of a Horse. 
REID (G. A.), R. C. A. 

Summer, "Decorative Panel." 

Mother and Child. (From Panel of 
Pioneers in City Hall, Toronto.) 

Portrait. 
REID (MRS. MARY HIESTER) 

A. R. C. A. 

Looking East. 

Roses, "President Carnot." 

Roses, "Lady Dorothea." 
STAPLES (OWEN P.) 

Late Afternoon. 
SPURR (GERTRUDE E.), A. R. C. A. 

Castle Rock, North Devon. 
SHERWOOD (W. A.), A. R. C. A. 

In the Leafy Wood. 
ST. CHARLES (JOSEPH) 

Woman Playing Mandolin. 

Red Man (Cameriere). 
SMITH (WM.) 

On the North Sea. 
TULLEY (S. STRICKLAND) 

A. R. C. A. 

Twilight of Life. 

Breezy Morning, Lower Canada. 
VERNER (F. A.), A. R. C. A. 

American Bison. 
WATSON (ALEXANDER) 

Memories. 



93 



Art Hand-Book 



WATSON (HOMER R.), R. C. A. 

Crossing the Ford. (Loaned by 
Andrew Wilson, Esq., Mon- 
treal.) 

Moonlight. (Loaned by Andrew 
Wilson, Esq., Montreal.) 

The Meadow. (Loaned by John 
Payne, Toronto.) 

Through the Woods. (Loaned by 
John Payne, Toronto.) 

WATER COLORS. 

ATKINSON (Vv. E.), A. R. C. A. 

Freshets on the Moor — ^Devonshire. 
BELL-SMITH (F. M.), R. C. A. 

Above the Clouds — Mount Aber- 
deen, Canadian Rockies. 
BLATCHLY (W. D.) 

Declining Day. 
BRYMNER (WM.), R. C. A. 

The Grey Girl. 

Francie. 
BRIGDEN (F. H.) 

A Pool in the Meadow. 

Study at Sundown. 



CRUIKSHANK (WM.), R. C. A. 

His Capital. 
GAGEN (ROBT. Jb.), A. R. C. A. 

Evening Gloom — Selkirks. 

A Storm in the Selkirks. 
KELLY (J. D.) 

Fist Ship on Lake Erie (La Salle, 
1679). 
MACKENZIE (R. TAIT) 

Study of Willows. 
MUNTZ (LAURA), A. R. C. A. 

The Lullaby. 
MATTHEWS (M.), R. C. A. 

In Sunny Summer-time. 

North jjranch, Kicking Horse 
River. 
MOSS (C. E.), iv. C. A. (deceased) 

Fireside Reverie. 
MANLY (C. M.), A. R. C. A. 

The Day is Done. 
SMITH (WM.) 

Battleship in a Gale off ir'lymouth 
Sound, ^xsot for sale.) 
WAY (C. J.), R. C. A. 

Venice. 

Monte Carlo, and Mentone in the 
Distance. 



GROUP II. 



BANKS (J. L.) 

Bust of Hon. W. G. Falconbirdge, 
Justice of King's Bench, On- 
tario. 
MacCARTHY (HAMILTON), R. C. A. 

Lord Strathcona and Mount Royal. 

The Mesenger of Love. 
WARD (FLORENCE) 

Alma Mater. 

A Joyous Sprite. 

Maggie. 



ALWARD (W. S.) 

Bust of Sir George Burton, Chief 

Justice of Ontario. 
Bust of Sir Wilfrid Laurier, Pre- 
mier of Canada. 
MACKENZIE (R. TAIT) 

Bas Relief in Plaster — ^The Skater. 
(Loaned by E. R. Peacoke, 
U. C. College.) 



EXHIBITORS' ADDRESSES. 



Alward, W. S., 28 Toronto St., Toronto. 

Atkinson W. E. (A. R. C. A.) 203 Craw- 
ford St. Toronto. 

Brown, J. Arch. (A. R. C. A.), 34 Vic- 
toria St., Toronto. 

Bell, M. A., John F. Stairs Esq., 170 
South St., Halifax, N. S. 

Bell-Smith, F. M. (R. C. A.), 336 Jarvis 
St., Toronto. 

Blatchly, W. D., 119 Rose Ave., Toronto. 

Bruce, W. Blair, care Wm. Bruce, Ham- 
ilton. 

Banks, J. L., 32 Adelaide St., East, 
Toronto. 

Beau, H., 9 University St., Montreal. 

Brymner, Wm. (R. C. A.), Art Associa- 
tion Gallery, Montreal. 

Brigden, F. H., Toronto. 

Cullen, Maurice, Scott & Son, Montreal. 



Cruikshank, Wm. (R. C. A.), Yonge St. 

Arcade, Toronto. 
Cochrane, Bertha L., Hillhurst, P. Q. 
Challener, Frederick S. (R. C. A.), 43 

Adelaide St., East, Room 5, To- 
ronto. 
Carlyle, Florence, Woodstock, Ont. 
Dyonnet, E. (A. R. C. A.), 9 University 

St., Montreal. 
Forster, J. W. L. (A. R. C. A.), 24 Kmg 

St., West, Toronto. 
Grier, E. Wyly (R. C. A.), Imperial 

Bank Building, Toronto. 
Graham, J. L. (A. R. C. A.), Scott & 

"Sons, Montreal. 
Gagen, Robt. F. (A. R. C. A.), 90 

Yonge St., Toronto. 
Harris, Robt. (President R. C. A.), Art 

Association Gallery, Montreal. 



94 



The Exhibition of Fine Arts 



Hagarty, C. S. (A. E. C. A.), 233 Sim- 
coe St., Toronto. 

Hope, Wm. (A. R. C. A.), 291 Mountain 
St., Montreal. 

Hammond, John (R. C. A.), Art As- 
sociation Gallery, Montreal. 

Jeffreys, C. W., New York, U. S. 

Kelly, J. D., 17 Classic Ave., Toronto. 

Knowles, F. McGillivarj- (R. C. A.), 
Room V, Confederation Life. 

McCarthy, Hamilton, Ottawa, Ont. 

Manly, C. M. (A. R. C. A.), Yonge St. 
Arcade, Toronto. 

McKenzie, R. Tait, 913 Dorchester St., 
Montreal. 

Muntz, Laura (A. R. C. A.), Yonge St. 
Arcade, Toronto. 

Morris, Edmund (A. R. C. A.), 471 Jar- 
vis St., Toronto. 

Matthews, M. (R. C. A.), 95 Yonge St., 
Toronto. 

Moss, C. E. (R. (J. A.), J. Wilson & Co., 
123 Sparks St., Ottawa. 

Martin, T. M. (R. C. A.), Park Road, 
Toronto. 



Morrice, J. W., Scott & Son, Montreal. 
Patterson, A. D. (R. C. A.), Elmsly 

Place, Toronto. 
Pinhey, J. C. (R. C. A.), Hudson 

Heights, P. Q. 
Reid, G. A. (R. C. A.), Indian Road, 

Toronto. 
Ridout, Evelyn M., 46 Cecil St., Toronto. 
Reid, Mrs. M. H. (A. R. C. A.), Indian 

Road, loronto. 
Sherwood, W. A. (A. R. C. A.), Yonge 

St. Arcade, Toronto. 
Staples, Owen, 7 Maitland Place, To- 
ronto. 
Smith, Wm., St. Thomas, Ont. 
Spurr, Gertrude E. (A. R. C. A.), 95 

Yonge St., Toronto. 
TuUy, S. Strickland (A. R. C. A.), 176 

Roxborough Ave., Toronto. 
Verner, F. A. (A. R. C. A.), 39 Palace 

Terrace, Fulham, London. 
Way, J. C. (R. C. A.), H. J. Matthews, 

Yonge St., Toronto. 
Watson, Homer (R. C. A.), Elmsley 

Place, Toronto. 



95 






-il^Sf 





GARDEN' 

-iriG -^ -^ ^ 



mmmimff^r^ By W. W. Bosworth 




'IttWJlMWili'iJJfWTW 



There do not exist in this country, 
at least for the public at large, any 
specimens of formal gardening such as 
flourished in Europe at the end of the 
eighteenth century, when the art was 
perfected by the French. And to-day, 
to find formal gardening at its best, one 
must still go where the traditions and 
formulae established at that time are 
carefully preserved and put in practice. 
Such gardens are those at the back of 
the Luxembourg Palace, in Paris, and 
those on the terraces at Versailles, 
which are still very much as they were 
at the time of Louis XIV., except that, 
under the care of careful gardeners for 
nearly two centuries, the hedges, the 
orange trees and the box bushes have 
grown to a size which would have as- 
tonished even that monarch. 

It was the desire of the architects in 
charge of the landscape work that some 
of the Pan-American gardening should 
be done in this spirit, a type of gar- 
dening evolved especially to harmonize 
with formal lines of fountains and bal- 
ustrades and to be used in the immedi- 
ate proximity to buildings. The prob- 
lem was made difficult by the fact that 
the spaces for gardening were restricted 
by the lines of the general plan to such 
retired spots as the Lily and Cyprus 
courts, and to borders along the main 
fountain basins, where the circulation 
of the great crowds would not be inter- 
fered with. Moreover, the temporary 
character of exposition work does not 
permit of finish and thoroughness of 
gardening any more than of building, 
and a long time is required for the per- 



fect adjustment of the relative growths 
of the plants which go to make up the 
effects of a formal garden. It is only 
possible to "suggest" effects, as in the 
case of the buildings. Mr. Walter Cook 
expressed it very well at one of the 
early meetings of the Board of Archi- 
tects: "All we should try to produce in 
the execution of our plans is the etiect 
of an architectural sketch!" 

The essential difference between these 
formal flower beds and the treatment 
usually employed in our public parks 
and gardens is not only in the severe 
architectural border lines, with vases, 
steps and balustrades, but in the design 
of the beds themselves within these bor- 
ders. The various edgings of box or 
pivot outline, sweeping curves or orna- 
ment which are in turn expressed in 
brilliant colored flowers. The pattern 
thus formed is set off on a ground of 
clear-colored sand, separating it from 
the border-beds, which follow the archi- 
tectural outlines of the curbings. 

The flowers must be prepared in the 
greenhouses, so that when one variety 
fades another is ready to replace it and 
the effect constantly maintained. This 
type of flower gardening is called in 
France "embroidery gardening," which 
well describes its character. The semi- 
circular beds round the Fountain of 
Abundance are perhaps the most suc- 
cessful of the many of these beds on 
the Exposition grounds. They have 
been carried out by Mr. Rudolph Ulrich, 
the supervising landscape architect, 
from the designs of the architects in 
charge of the landscape work. 



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